Wagner - Parsifal / Knappertsbusch

1. Parsifal, opera, WWV 111
   Composed by Richard Wagner
   Performed by Bayreuth Festival Orchestra
   with George London, Hans Hotter, Gerhard Stolze, Martti Talvela, Sona Cervena, Dorothea Siebert, Ursula Boese, Gundula Janowitz, Gerd Nienstedt, Niels Moller, Georg Paskuda, Else-Margrete Gardelli, Irene Dalis, Anja Silja, Jess Thomas, Rita Bartos
   Conducted by Hans Knappertsbusch
   
   

Wagner - Parsifal / Knappertsbusch,Richard Wagner,Hans Knappertsbusch,Hans Hotter,Gustav Neidlinger, Irene Dalis Jess Thomas,Martti Talvela George London,Universal,Box Sets (Audio Only),Classical,Classical Music,German/Austrian Romantic Opera,Opera,Opera / Operetta / Oratorio,Opera/Operetta

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Average customer rating: Parsifal. Bayreuth. Awsome. The greatest Parsifal ever recorded A Masterful Performance of Perhaps the Most Engimatic Art-Work

Wagner: Parsifal Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Similar Items: Wagner: Lohengrin Wagner - Die Meistersinger von Nurnberg / Kollo · Donath · Adam · G. Evans · Schreier · Hesse· Riderbusch · Karajan Wagner: Tristan und Isolde Wagner: Der Ring des Nibelungen Wagner: Der Ring des Nibelungen ASIN: B000FVHGZG Release Date: 2006-11-14

Album Description

"Knappertsbusch's expansive and dedicated 1962 reading is caught superbly in the Philips set, arguably the finest live recording ever made in the Festspeilhaus at Bayreuth, with outstanding singing from Jess Thomas as Parsifal and Hans Hotter as Gurnemanz...its spiritual quality and the sound has undoubtedly been further enhanced in the remastering for CD."--The Penguin Guide to Compact Discs "This is not merely one of Philips's Great Recordings but also one of the greatest sets of all time. Every time one returns to it, its inspiration and distinction seem to have been enhanced, its all-enveloping eloquence the more evident. Its overriding advantage over all other recordings of the work is Knappertsbusch's masterly traversal of the score, even more aware of dramatic impetus, long line and Wagnerian import...There have been much-admired Parsifals in more recent times but none of these studio-made sets quite catches the immediacy and inevitability of this moving and elevated version, now sounding freshened in its remastered form. At mid-price, a very special experience is in store for any newcomer to the work."--Gramophone Cast GEORGE LONDON Amfortas MARTTI TALVELA Titurel HANS HOTTER Gurnemanz JESS THOMAS Parsifal GUSTAV NEIDLINGER Klingsor IRENE DALIS Kundry Chor und Orchester der Bayreuther Festspiele Hans Knappertsbusch, conductor

Customer Reviews:

Parsifal. Bayreuth. Awsome........2007-07-30

Other than the few random coughs and the brief decrease in volume in the first act this is a pretty impressive reading of Parsifal. The third act is where everything really comes together. Who can go wrong with a Bayreuth Festival recording of Parsifal?

The greatest Parsifal ever recorded.......2007-01-28

In my opinion, a true Parsifal can only be realized in the Bayreuth Festspielhaus, given the fact that Wagner wrote the opera with his theater's acoustics in mind. Wagner's architecture allows the music to resound magically from the sunken orchestra pit, and this allows Parsifal's beautiful score to come to full bloom. Despite the wonderful studio recordings that one can buy in the market (such as Karajan's magical Berlin recording, Kubelik's magnificent Bavarian recording, and Solti's acclaimed Vienna production), Bayreuth Parsifals have always been more exciting. The conductor in this recording is Hans Knappertsbusch, a maestro who keeps with the holy traditions of the grail-infused score and gives the music a breadth, gravity, and clarity absent from most new conductors. His most famous recording from Bayreuth was a 1951 recording with Martha Mödl, Wolfgang Windgassen, George London, and Ludwig Weber. I think that is one of the most inspired Parsifals ever committed to disc. This recording, made eleven years later, is just as inspired and beautiful as the 1951 account, with better sound, a more magnificent cast, and in ways, much better judged tempi than the glacial 1951 recording.

In my opinion, the crowning glory of this set in Hans Hotter's Gurnemanz. Full of gravitas and wisdom, despite what people say about his voice, Hotter is my favorite Gurnemanz. His large, commanding, godlike sound is perfect for the role of the warrior-knight who keeps the traditions of the grail, and his third act is perhaps the best on disc. His qualities as a lieder singer allow the sensitivities of Wagner's complex text to emerge, and I would say that despite the fact that other Parsifals with him are better (1964, same theater, same conductor, but with Jon Vickers! as Parsifal), this recording captured him in the best conditions.

The Parsifal in this recording is Jess Thomas, who is perhaps the most youthful and beautiful heldentenor voice ever to take the part. I find that his intelligence in his interpretation, while nowhere near as grand as Vickers, is a merit to this recording. He has the most beautiful voice for the redeeming fool. He is partnered by the Kundry of Irene Dalis. My favorite Kundry is Gwyneth Jones, who in her prime recorded Parsifal with James King, Thomas Stewart, and Franz Crass, and if she were the Kundry in this recording, I would definitely throw heaps of money on this for being the best recording ever. Irene Dalis does a good job of Kundry nonetheless, and has the perfect balance of seduction and demonic ferocity to make the role credible.

Amfortas is sung by the aging George London, who in a few years, would forever lose his magnificent voice. Here, he repeats his marvelous performance from 1951, and while the voice is less than fresh, his interpretation has undoubtedly grown in depth and intensity. A reference Amfortas for any generation. The direction by Wieland Wagner is inspiring, and is perhaps the reason why this Parsifal is such a benchmark performance.

A Masterful Performance of Perhaps the Most Engimatic Art-Work.......2007-01-10

Parsifal is undoubtedly the most problematic of Wagner's works. Not in terms of performance demands, for the vocal parts are remarkably undemanding, certainly when compared to Tristan or the Ring, and the orchestral passages rarely rise to greater than mezzo-forte. The problem lies in decerning what Wagner really intended to say in this final work. Some see it as an expression of christian faith, others a glorification of celebacy and denigration of sexual love, and still others, such as Robert Gutmann, see in it the ultimate expression of Wagner's anti-Jewish feelings and the need for the Aryan Race to be regenerated through the blood of Christ. In all likelihood, all of these viewpoints have validity, as such a morally ambiguous work is like a Rorschach Inkblot Test, an ambiguous stimulus that can provoke any number of interpretations. There is indeed a dream-like quality to this work, in which Wagner amazingly anticipates, or perhaps initiates, musical impressionism.
This live performance from the 1962 Bayreuth Festival, led by Knappertsbusch, perfectly captures the misty, flickering, impressionistic light of the work. Kna, as is well known, was highly unpredictable in performance, at times sublime, at other times plodding and careless. This is one of his sublime moments, as great as his 1951 "Goetterdaemmerung." So great is his grasp of the music that there is not one passage that sounds like a longeur, but rather, that this drama moves by swiftly and with purpose at every point. Comparison with his 1951 version reveals swifter pacing in this performance, but as we all know, speed itself does not necessarily guarantee tautness. It is more a matter of maintaining tension, and Kna does this better than any other "Parsifal" conductor in this listener's experience. The cast is perfect at every point. Highilghts include Hotter's warm, committed Gurnemanz, sung with Lieder-like sensititivy and rock-steady tone; Neidlinger's commanding and frightening Klingsor (slso expressed with bitterness over his unjust rejection by the Grail Knights, one of the great moral ambiguities of the work); Thomas' gloriously-sung Parsifal (properly one-dimensional, as this character is really a "Tor" (fool), or more properly a "Trottel" (imbecile)); Dalis's tortured and yet seductive Kundry; and the tortured Amfortas of London, even more impressive than in the earlier Knappertsbusch recording. The chorus is the greatest in the world, and the Bayreuth Orchestra sounds like the equal of any orchestra, operatic or symphonic. The recorded sound is amazingly lifelike and shows why the Festspielhaus is the greatest opera house in the world. Once again, BAYREUTH RULES!

Average customer rating: Invaluable musical treasures!

Wagner: Parsifal/Die Meistersinger von Nürnberg Manufacturer: Koch Schwann (Germ.) ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music ASIN: B000001SUP Release Date: 1994-05-31

Tracks:

1. Vorspiel zum 1. Auzfug - Vienna State Opera Orch, Choir, & Cast
2. Nun achte wohl und lass mich seh'n-Zum letzten Liebesmahle - Vienna State Opera Orch, Choir, & Cast
3. Vospiel zum 2. Aufzug-Die Zeit ist da - Vienna State Opera Orch, Choir, & Cast
4. Wie lachen ihm die Rossen der Wangan-Hier! Hier war das Tosen-Ihr schonen Kinder - Vienna State Opera Orch, Choir, & Cast
5. Und willst Du uns nicht schelton-Komm, komm, holder Knabe - Vienna State Opera Orch, Choir, & Cast
6. Sie beut dir heut' als Muttersegens letzen Gruss-Amfortas! Die Wunde - Vienna State Opera Orch, Choir, & Cast
7. Hilfe! Hilfe! Herbei! - Vienna State Opera Orch, Choir, & Cast
8. Vorspiel zum 3. Aufzug - Vienna State Opera Orch, Choir, & Cast
9. Du siehst, das ist nicht so - Vienna State Opera Orch, Choir, & Cast
10. Ich sah sie welken, die einst mir lachten - Vienna State Opera Orch, Choir, & Cast
11. Verwandlungsmusik-Geleiten wir im bergenden Schrein - Vienna State Opera Orch, Choir, & Cast
12. Hochsten Heiles Wunder - Vienna State Opera Orch, Choir, & Cast
13. Vospiel zum 1. Aufzug-Da zu dir der Heiland kam - Vienna State Opera Orch, Choir, & Cast
14. Halt, Meister! Nicht so geeilt! - Vienna State Opera Orch, Choir, & Cast

Tracks:

1. Was duffet Doch der Flieder - Vienna State Opera/Nurnberg Operahouse Choir & Cast
2. Gut'n Abend, Meister - Vienna State Opera/Nurnberg Operahouse Choir & Cast
3. Jerum! Jerum! Hallohallohe! - Vienna State Opera/Nurnberg Operahouse Choir & Cast
4. Oha! Wollt mich beim Wahne fassen - Vienna State Opera/Nurnberg Operahouse Choir & Cast
5. So lang als Beckmesser lebt - Vienna State Opera/Nurnberg Operahouse Choir & Cast
6. dass mit Vergumst-Ist das erlaubt, so spat zur Nacht - Vienna State Opera/Nurnberg Operahouse Choir & Cast
7. Vorspiel zum 3. Auzfug (fragment) - Vienna State Opera/Nurnberg Operahouse Choir & Cast
8. Wahn! Wahn! Uberall Wahn!-Gruss Gott, mein junker - Vienna State Opera/Nurnberg Operahouse Choir & Cast
9. Doch lasst dem Ruh'-Mein Freund, in holder Jugendzeit - Vienna State Opera/Nurnberg Operahouse Choir & Cast
10. O Sachs, mein Freud-Aha, da streicht die Lene schoon um's Haus-Ein Kind ward geboren - Vienna State Opera/Nurnberg Operahouse Choir & Cast
11. Selig, wie die Sonne-Verwandlungsmusik - Vienna State Opera/Nurnberg Operahouse Choir & Cast
12. Ach auf! Es nahet gen den Tag - Vienna State Opera/Nurnberg Operahouse Choir & Cast
13. sein Tochterlein, sein hochstes Gut-O saschs mein Freund! - Vienna State Opera/Nurnberg Operahouse Choir & Cast
14. Das Lied, furwahr, ist nicht von mir - Vienna State Opera/Nurnberg Operahouse Choir & Cast
15. Verachtet mit die Meister nicht - Vienna State Opera/Nurnberg Operahouse Choir & Cast

Customer Reviews:

Invaluable musical treasures!.......2005-12-20

The presence of these two giants of the conducting world reserve for you a journey through the time.

Die Meistersinger Von Nürnberg is dated from September 1938 and Parsifal was recorded on April 1939 at the Wiener Staatsoper. Hans Sachs is Rudolf Bockelman and Veit Pogner is Josef von Manowarda; while in Parsifal Parsifal is Hans Grahl, Gurnemanz is Herbert Alsen, Kundry is Anny Konetzi and Klingsor is Hermann Wiedemann.

Go for this admirable collection whose historical importance will increase exponentially through the years.

Average customer rating:

Mahler & Wagner: Orchestral Song Cycles Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Wagner: Die Walkure; Götterdämmerung (Highlights) [Australia] Kathleen Ferrier - Mahler ~ Kindertotenlieder & Gluck ~ Greene ~ Handel ~ Mendelssohn ~ Purcell / Baillie, Moore, B. Walter Peter Lieberson: Neruda Songs ASIN: B00005N56T Release Date: 2002-02-12

Average customer rating:

Wagner: Parsifal Manufacturer: Gala ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music ASIN: B00008G593 Release Date: 2000-09-19

Average customer rating:

Wagner: Parsifal (Complete) [Germany] London , Van Mill , Weber , Windgassen , Uhde , Moll , Knappertsbusch , and Chor Und Orchester Der Manufacturer: Quadromania ProductGroup: Music Binding: Audio CD General | Classical | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Beethoven: Piano Sonatas [Germany] ASIN: B00023GORS Release Date: 2006-05-03

Tracks:

1. Prelude
2. Act I, No. 2, "He! Ho! Waldhuter Ihr" (Gurnemaz)
3. Act I, No. 3, "Hei! Wie Fliegen Der Teufelsmahre Die Mahnen" (Erster Knappe)
4. Act I, No. 4, "Recht So! - Habt Dank! Ein Wenig Rast" (Amfortas)
5. Act I, No. 5, "Wann Alles Ratlos Steht" (Gurnemanz)
6. Act I, No. 6, "Das Ist Ein Andres" (Gurnemanz)
7. Act I, No. 7, "Titurel, Der Fromme Held" (Gurnemanz)
8. Act I, No. 8, "Weh! Weh! Hoho! Auf!" (Knappen Und Ritter)
9. Act I, No. 9, "Unerhortes Werk!" (Gurnemanz)
10. Act I, No. 10, "Den Vaterlosen Gebar Die Mutter" (Kundry)
11. Act I, No. 11, "So Recht! So Nach Des Grales Gnade" (Gurnemanz)
12. Act I, No. 12a, "Vom Bade Kehrt Der Konig Heim" (Gurnemanz)
13. Act I, No. 12b, (Transformation Scene)
14. Act I, No. 13, "Nun Achte Wohl... Zum Letzten Liebesmahle" (Gurnemanz)
15. Act I, No. 14a, "Mein Sohn Amfortas, Bist Du Am Amt?" (Titurel)
16. Act I, No. 14b, "Nein! Lasst Ihn Unenthullt" (Amfortas)
17. Act I, No. 14c, "Wehvolles Erbe, Dem Ich Verfallen" (Amfortas)
18. Act I, No. 15, "Durch Mitleid Issend, Der Reine Tor" (Knaben Und Junglinge)
19. Act Ii, No. 16, Prelude
20. Act Ii, No. 17, "Die Zeit Ist Da" (Klingsor)
21. Act Ii, No. 18, "Ach! Tiefe Nacht... Furchtbare Not!" (Kundry)
22. Act Ii, No. 19, "Hier War Das Tosen!" (Blumenmadchen)
23. Act Ii, No. 20, "Komm, Holder Knabe!" (Chorus)
24. Act Ii, No. 21, "Dies Alles - Hab' Ich Nun Getraumt?" (Parsifal)
25. Act Ii, No. 22, "Ich Sah Das Kind" (Herzeleide) (Kundry)
26. Act Ii, No. 23, "Wehe! Wehe! Was Tat Ich?" (Parsifal)
27. Act Ii, No. 24, "Amfortas! Die Wunde!" (Parsifal)
28. Act Ii, No. 25, "Grausamer! Fuhlst Du Im Herzen" (Kundry)
29. Act Ii, No. 26, "Auf Ewigkeit Warst Du Verdammt Mir Fur Eine Stunde" (Parsifal)
30. Act Iii, No. 27, Prelude
31. Act Iii, No. 28, "Von Dorther Kam Das Stohnen" (Gurnemanz)
32. Act Iii, No. 29, "Heil Dir, Mein Gast!" (Gurnemanz)
33. Act Iii, No. 30, "Zu Ihm, Des Tiefe Klagen" (Parsifal)
34. Act Iii, No. 31, "O Gnade! Hochstes Heil!"
35. Act Iii, No. 32, "Du Wuschest Mir Die Fusse" (Good Friday Music)
36. Act Iii, No. 33a, (Transformation Scene)
37. Act Iii, No. 33b, "Geleiten Wir Im Bergenden Schrein" (Ritter Des Grales)
38. Act Iii, No. 34, "Ja, Wehe! Wehe! Weh' Uber Mich!" (Amfortas)
39. Act Iii, No. 35, "Nur Eine Waffe Taugt" (Parsifal)
40. Act Iii, No. 36, (Good Friday Music) (Concert Version)

Average customer rating: Brava Un trouvaille! Rare Crespin Only for real fans!

Regine Crespin: Ses Plus Grands Rôles Manufacturer: Delta ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Fauré, Gabriel | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music ASIN: B000001VJZ Release Date: 1996-05-21

Tracks:

1. Otello: Air Du Saule-Ave Maria
2. Cosi Fan Tutti: Qu'il S'eloigne Qu'il Parte Au Loin De Moi
3. Le Nozze De Figaro: E Susanna, Non Vien
4. Penelope: Justice Est Faite
5. Parsifal: Ich Sah Das Kind
6. Der Rosenkavalier: Da Geht Er Hin
7. Fidelio: Abscheulicher, Wo Eilst Du Hin
8. Un Ballo In Maschera: Teco Io Sto

Customer Reviews:

Brava.......2005-01-31

I remember a Metropolitan Opera broadcast singers roundtable in which the great Regine Crespin participated fairly late in her career. As they went around the table, the question was "When you give a performance, what do you hope the audience will go away thinking?" When it came to Crespin, her answer was "I hope they will go away thinking 'She looks like she's lost twenty pounds', because I have!" The audience was in hysterics for what seemed like half an hour.

I trust this release, the few others currently available, and the considerable amount of recorded material not currently in release which should be, will attest to the unquestioned fact this extraordinary artist should, and will, be remembered for much, much more.

May she live forever in our hearts.

Un trouvaille!.......2002-06-20

This is what the French would call "a find"!

I agree wholeheartedly with Mr Levinson's comments below. Featuring Crespin's singing of repertoire mostly unavailable elsewhere (and now that EMI's early-career studio recordings, including the Otello scene in Italian, are currently out of the catalog) with the voice fresh in its voluptuous, youthful splendor, this generous compilation is simply not to be missed!

Never mind any sonic flaws of the source material which, for live airchecks, are fairly negligible. In fact, the sound is remarkably dynamic if a shade fierce in the treble, with only one serious pitch variation due to uneven tape speed marring the Fiordiligi aria, which is nevertheless sung magnificently, as mentioned before, translated into the venacular (a practice commonplace in European opera houses of the period). With diction so pure and clear as Crespin's, a model of how French should be sung, it is not only instructional but sheer pleasure to hear the familiar Mozartean tour-de-force rendered in her native tongue rather than the usual Italian.

Perhaps of greatest significance is the Wagner selection. Considering that this is the only currently available sample of Crespin's ne-plus-ultra interpretation of the role of Kundry (a complete Bayreuth aircheck of this Parsifal is out there and urgently wanting issue on CD), which her conductor and Parsifal specialist Knappertsbusch called the greatest Kundry he had ever heard, this becomes a must-have release.

Rare Crespin.......2000-12-04

The sound is live-broadcast, but good enough to reveal the magnificent Crespin at her vocal peak in repetoire unavailable otherwise. Desdemonda's grand scene from "Otello" and the Mozart selections are sung in French, but with such feeling and sheer vocal beauty that it almost doesn't matter. The Verdi "Ballo" duet with Corelli (in Italian) is thrilling, but so is everything else on this disc. For me, the recording is an unadulterated pleasure, sound and language be damned.

Only for real fans!.......1999-05-20

I was excited by the prospect of hearing a much loved voice in her best repertoire. unfortunately the reording quality is poor, and the arias often sung in translation. her Fiordiligi is uncomfortable. Yet her Penelope (Faure) is riveting. Listen to this one first!

Average customer rating: A 1951 dream team at the rebirth of the Bayreuth Festival (II) PHENOMINAL PERFORMANCE~You Need This Knappertsbusch and Parsifal A legendary performance: everything works!

Wagner: Parsifal Manufacturer: Wea International ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music Similar Items: Wagner: Parsifal Wagner: Lohengrin Wagner: Der Fliegende Holländer Wagner - Parsifal / Knappertsbusch Wagner: The Complete Karl Muck Parsifal Recordings, Orchestral Suite, etc / Muck ASIN: B000000SH0 Release Date: 2002-08-12

Tracks:

1. No. 1, Prelude
2. Act I, No. 2, "He! Ho! Waldhuter Ihr
3. Act I, No. 3, "Hei! Wie Fliegen Der Teufelsmahre Die Mahnen"
4. Act I, No. 4, "Recht So! - Habt Dank! Ein Wenig Rast"
5. Act I, No. 5, "Wann Alles Ratlos Steht"
6. Act I, No. 6, "Das Ist Ein Andres"
7. Act I, No. 7, "Titurel, Der Fromme Held"
8. Act I, No. 8, "Weh! Weh! Hoho! Auf!"
9. Act I, No. 9, "Unerhortes Werk!"
10. Act I, No. 10, "Den Vaterlosen Gebar Die Mutter"
11. Act I, No. 11, "So Recht! So Nach Des Grales Gnade"
12. Act I, No. 12a, "Vom Bade Kehrt Der Konig Heim"
13. Act I, No. 12b, (Transformation Scene)
14. Act I, No. 13, "Nun Achte Wohl... Zum Letzten Liebesmahle"
15. Act I, No. 14a, "Mein Sohn Amfortas, Bist Du Am Amt?"
16. Act I, No. 14b, "Nein! Lasst Ihn Unenthullt"
17. Act I, No. 14c, "Wehvolles Erbe, Dem Ich Verfallen"
18. Act I, No. 15, "Durch Mitleid Issend, Der Reine Tor"
19. Act Ii, No. 16, Prelude
20. Act Ii, No. 17, "Die Zeit Ist Da"
21. Act Ii, No. 18, "Ach! Tiefe Nacht... Furchtbare Not!"
22. Act Ii, No. 19, "Hier War Das Tosen!"
23. Act Ii, No. 20, "Komm, Holder Knabe!"
24. Act Ii, No. 21, "Dies Alles - Hab' Ich Nun Getraumt?"
25. Act Ii, No. 22, "Ich Sah Das Kind"
26. Act Ii, No. 23, "Wehe! Wehe! Was Tat Ich?"
27. Act Ii, No. 24, "Amfortas! Die Wunde!"
28. Act Ii, No. 25, "Grausamer! Fuhlst Du Im Herzen"
29. Act Ii, No. 26, "Auf Ewigkeit Warst Du Verdammt Mir Fur Eine Stunde"
30. Act Iii, No. 27, Prelude
31. Act Iii, No. 28, "Von Dorther Kam Das Stohnen"
32. Act Iii, No. 29, "Heil Dir, Mein Gast!"
33. Act Iii, No. 30, "Zu Ihm, Des Tiefe Klagen"
34. Act Iii, No. 31, "O Gnade! Hochstes Heil!"
35. Act Iii, No. 32, "Du Wuschest Mir Die Fusse
36. Act Iii, No. 33a, (Transformation Scene)
37. Act Iii, No. 33b, "Geleiten Wir Im Bergenden Schrein"
38. Act Iii, No. 34, "Ja, Wehe! Wehe! Weh' Uber Mich!"
39. Act Iii, No. 35, "Nur Eine Waffe Taugt" (Parsifal)

Customer Reviews:

A 1951 dream team at the rebirth of the Bayreuth Festival (II).......2007-08-01

SOURCE: In the summer of 1951 John Culshaw and a sound crew from Decca were at Bayreuth to record the post-war rebirth of the great musical festival. "Parsifal," conducted by Hans Knappertsbusch, opened at the end of June and played through July. In August, the bill changed to "Die Meistersinger" under the baton of the Festival's other conductor, Herbert von Karajan. In the absence of evidence to the contrary, I believe that this recording of "Parsifal" was made in the same way as the recording of Karajan's 1951 "Meistersinger," that it is an assemblage of selected takes from rehearsals and several performances. For years, this was the only recording of "Parsifal" available to the general public; it formed the taste of a generation.

SOUND: This recording, like that of the contemporary "Die Meistersinger," pushed the technology of 1951 to its extreme to capture a performance at the Bayreuth Festival. It is in perfectly respectable mono, remarkable for its time and acceptable to ours, if a listener offers it some goodwill. It should be noted, however, that the recording crews must have learned much from these first attempts to capture the Bayreuth experience in the new technology, for recordings made in the subsequent seasons show noticeable advances, even prior to the introduction of the newer-still stereo technology.

The voices of the singers are very nicely captured, while the orchestra is comparatively distant and a bit muffled, at least as compared to the latest digital stereo versions. However, it must be remembered that Wagner, himself, clearly did not want a bright and forward-sounding orchestra. He designed and built the Festspielhaus, in fact, to prevent precisely such a thing from happening.

The audience, respectful Wagnerites, maintained a remarkable and self-disciplined hush throughout.

CAST: Amfortas - George London (baritone); Titurel - Arnold van Mill (bass); Gurnemanz - Ludwig Weber (bass); Parsifal - Wolfgang Windgassen (tenor); Klingsor - Hermann Uhde (bass); Kundry - Martha Moedl (soprano); Squire I - Hanna Ludwig (soprano); Squire II - Elfriede Wild (soprano); Squire III - Guenther Baldauf (tenor); Squire IV - Gerhard Stolze (tenor); Flower Maiden I - Hildegard Schuenemann (soprano); Flower Maiden II - Erika Zimmermann (soprano); Flower Maiden III - Hanna Ludwig (soprano); Flower Maiden IV - Paula Brivkalne (soprano); Flower Maiden V - Maria Lacorn (soprano); Flower Maiden VI - Elfriede Wild (soprano); Knight I - Walther Fritz (tenor); Knight II - Werner Faulhaber (bass); Voice from Above - Ruth Siewert (contralto).

CONDUCTOR: Hans Knappertsbusch, with Orchester und Chor der Bayreuther Festspiele.

COMMENTARY: The town of Bayreuth was bombed and massively damaged during the course of World War II. One of the few public buildings that remained standing was Richard Wagner's Festspielhaus, although it did not escape damage.

After the war, it did not take long to reach the conclusion that the Festival must continue. But, like many Germans (von Karajan and Furtwaengler spring to mind), it had to undergo a lengthy and painful process of de-nazification. For the Festival, that meant the permanent sidelining of English-born Winifred Wagner, the daughter-in-law of Richard Wagner and to the day she died, the outspoken friend and fan of Adolph Hitler. Winifred's sons, Wieland and Wolfgang Wagner took over control. The Wagner brothers faced formidable problems. The Festival was bankrupt, the Festspielhaus in need of repair and the accumulated sets and costumes of three generations were either destroyed or, worse, buried in a salt mine in the Russian Zone.

As it happened, the brothers triumphed. They raised the money. They repaired the Playhouse. They signed up co-conductors of enormous prestige, Knappertsbusch effectively representing tradition and continuity and Karajan for brilliance and entry into the new, post-war world.

The reborn, de-nazified, financially strapped New Bayreuth Festival opened on June 30, 1951 with this very "Parsifal." This recording is a major historical document in its own right. By one of those odd little ironies of fate, Knappertsbusch, the Man of the Past, led the first production of Wieland's radical, stripped down, abstract New Bayreuth style, while Karajan, the Man of the Future, followed up by conducting Wolfgang's very traditional, realistic and even ponderous-looking production of "Die Meistersinger."

Although, a few die-hard traditionalists (such as Knappertsbusch) were appalled, the new "Parsifal" was a smash hit. The formidable English critic, Ernest Newman was there in 1951. He wrote, "This was not only the best Parsifal I have ever seen and heard but one of the three or four most moving spiritual experiences of my life."

I must confess that I am not quite so moved. The very first opera I ever saw in an opera house was "Die Meistersinger." I stood through all five-and-a-half mortal hours of it and loved every bar, every note. On the other hand. when I at last saw "Parsifal," I thought that in doing so that I had just experienced the most thundering boredom of my life. (That time I was fortunate enough to have a seat, at least.) I have endured other "Parsifals" since then. To this day, I find "Parsifal" (and "Lohengrin," too) a dreary duty, entirely devoid of the pleasures afforded by Wagner's other works, yes, even "Rienzi" and "Das Liebesverbot."

Before any rabid Wagnerite orders up a supply of tar and feathers from Amazon, I admit that my distaste for "Parsifal" is almost certainly more informative about me than it is about the opera.

As "Parsifals" go, this "Parsifal" is a very superior one. Knappertsbusch clearly loved the opera and he was a great conductor for it. Take this as fair warning, though: his approach is not a modern one. He was taught his Wagner by Hans Richter, who had it directly from the Master himself. Knappertsbusch was less concerned with absolute precision or quality of tone than with the dramatic and musical arc and flow of the piece.

The newly reconstituted Bayreuth Orchestra was pretty good in 1951, but it would improve in quality with the passing of time.

The cast is simply amazing: London, Weber, Windgassen, Uhde, Moedl and the rest. I have heard people whose judgement I trust (despite the fact that they actually manage to enjoy "Parsifal") declare that no-one has ever surpassed Uhde as Klinsor or Moedl as Kundry. Whether that is true or not, I don't believe that a cast of comparable quality could be assembled in any opera house in the world today. It is astonishing to recall that this cast is only one of three or four of equal quality that could have performed at Bayreuth in 1951.

This is a fine and important performance of an opera I do not happen to like. The cast is wonderful, good enough to make me bewail the state of Wagnerian singing in the Twenty-first Century. The conductor is an old-fashioned man, conducting in an old-fashioned way, but his way may be truer to the intentions of the composer than today's accepted manner. The sound of the recording is good, although definitely in the "historic" class. The value of this recording is in the performance, not the technology.

To those who can abide "Parsifal," five stars.

PHENOMINAL PERFORMANCE~You Need This.......2007-07-21

Isn't it amazing when someone conducts or directs a work, whether it's a play, movie, or an opera or operetta and they are so great, interpert it so perfectly, that it becomes "theirs".

This was the case with the Great Hans Knappertsbusch and Wagner's "Parsifal". His name is synonymous with this work, and likely always will be.

This is the first performance at Bayreuth after the war, and it's a sure bet that everyone was being very careful, and, rightly, probably was very nervous as to just what the re-opening of the Festspielhouse would bring. I am sure everyone was probably walking on "eggs". But, not to worry, as it turned out...people still flocked to see and hear Wagner's works presented that year, 1951. This was the opening opera performance of that season, and there was a break with singers of the past, the grandsons wishing to "bring" or start New Bayreuth. So, we herewith had the debuts, if you will, of Wolfgang Windgassen and George London...not too bad! Especially if you factor in Martha Modl and Hermann Uhde, Ludwig Weber, and Arnold van Mill. Imagine to have been there!

The last performance of "Parsifal" at Bayreuth was 1939...Hitler had forbidden performances of "Parsifal" during the war, so this performance was especially meaningful not only for Germans, but for Wagner lovers all over the world. Bayreuth would start again, afresh, hopefully to shake off the association that was connected with the Fuhrer and his political world.

So, opening night, and the next morning the opera world was simply sat on its collective [...], if you will. Gone all traces of anything associated with the past, and the entrance of New Bayreuth...notably "barren" stages! And, it worked...the grandsons had rightly figured that removing anything distracting would enable the total absorption of the music drama itself, and it set a whole new standard for the presentation not only of "Parsifal", but all other productions of Wagner's works at the Festival Theater.

---

This performance, recorded with the very finest equipment and technical capabilities at the time, is a truly remarkable document. It belongs in every serious opera collection. It cannot be overlooked. Windgassen and London, Weber and van MIll all at the very beginning of their careers. (A very few shakey spots, but this is great history in the making...the foremost tenor of the second half of the 20th century is cutting his teeth here!). The Great Modl, and Hermann Uhde, and of course, all held together by the incomparable "Kna" in a stately, but warmly scintilating, production. All recordings later released get held up to, and compared critically with, this great performance, and also the later 1962 performance, as it happens, also under "Kna". And, it's easy...it's pass/fail, period.

The sound here is amazingly very good, and the unbelievable part is this...there are no sneezes, coughs, chair rattling, etc. This was the "old days" when people simply would not make a sound out of respect for the great work, and also, I believe, for the performers also.

The booklet with this release is just astonishing. So many photos, and information.....how one wishes other recordings by other companies would produce documentation like this. And, it's on high-quality glossy paper throughout.

Simply put, a must-have recording for many reasons, which I have tried to show, with this, I realize, very long review. Somehow it is not possible to just make great performances like this just blach/white without some of the important history associated with it. Forgive the length, but get the recording, soon, as I fear these grand old pressings are, or will be soon, out of print. ~operabruin

Knappertsbusch and Parsifal.......2007-01-30

The world-famous conductor, especially renowned for his staging of Parsifal in Bayreuth. The names of Knappertsbusch and Parsifal are inseparable. The conductor regarded his work as a sacred act, a great homage to God. He spent each night in zealous prayers and he needed to see a soaring dove in the final scene of the triumph of the spirit even over an empty Bayreuth "saucer".
The Knight of the Grail Gurnemanz is played by Ludwig Weber - the name known mostly in the inner circles. This exclusive musician has played a lot at Bayreuth Festspiele, without him a Wagner performance would not be a success. His playing is characterized by incomparable charm and if, sometimes they say about a musician "good but without much kick", in case of Weber it is just the opposite.
Wolfgang Windgassen is a Bayreuth colossus and Wagnerian prime star. "What should have been done if Wolfgang Windgassen was not in Bayreuth?" To which Knappertsbusch retorted: "Send him an invitation as soon as possible, what else?"
Once Knappertsbusch philosophized: "Windgassen for Bayreuth is a sort of astral indisputable body, which by spiritual force is retaining here the Beauty (das Musische)». Knappertsbusch seldom made such remarks, so when he did it was after long deliberation. Windgassen comet started its flight from the role of Parsifal.
There are many recordings of Parsifal from Bayreuth Festspiele with the ever-present Hans Knappertsbusch and Windgassen as Parsifal. Philips recording of Parsifal from Bayreuth in 1962 can be considered universal for a wide range of listeners. But the real connoisseurs know that there will no such Parsifal as at the opening in 1951. No words can describe that atmosphere of incredulously quite audience in which a cough would have been a crime. Listening would be better than words.

A legendary performance: everything works!.......2006-04-28

This recording was made during the first postwar Wagner Festival in Bayreuth. It features Wolfgang Windgassen (Parsifal) and George London (Amfortas) at the beginning of their careers as Wagner singers. Martha Modl set the standard for Kundry for a generation. Conductor Hans Knappertsbusch was well known in Europe for his Wagner--especially "Parsifal".
In short the cast was wonderful, and the conducting magnificent. The sound is monaural, but made with the best equipment available in 1951. It was made during live performances of the opera in Festspielhaus. Thus it has the level of excitement possible only in live recordings and is aided by the excellent acoustics of the theatre.
Amazon allows five stars. I would give it six or seven.

Average customer rating:

Wagner Gala Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Wagner: Die Walkure; Götterdämmerung (Highlights) [Australia] ASIN: B00004T2FP Release Date: 2000-08-08

Tracks:

1. Lohengrin: Einsam in truben Tagen
2. Die Meistersinger von Nurnberg: Was duftet doch der Flieder so mild
3. Tristan und Isolde: Weh, ach wehe! Dies zu dulden!
4. Der fliegende Hollander: Die Frist ist um
5. Ich sah das Kind an seiner Mutter Brust
6. Der Manner Sippe
7. Die Walkure: Du bist der Lenz
8. Die Meistersinger von Nurnberg: Wahn! Whan! Uberall Wahn!
9. Tristan und Isolde: Mild und leise

Average customer rating: Outstanding This isn't the best of Knappertsbusch's output Best Bayreuth sound Kna's famous Parsifal ...and Irene Dalis

Wagner - Parsifal / Knappertsbusch Richard Wagner , Hans Knappertsbusch , Hans Hotter , Gustav Neidlinger, Irene Dalis Jess Thomas , and Martti Talvela George London Manufacturer: Umvd Labels ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Opera & Vocal | Box Sets | Stores | Music Similar Items: Wagner: Lohengrin Wagner: Siegfried Wagner: Die Walküre Wagner: Das Rheingold Richard Wagner: Parsifal ASIN: B00005IB5N Release Date: 2001-10-30

Tracks:

1. Erster Aufzug: Vorspiel - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
2. Erster Aufzug: He! Ho! Waldhuter Ihr - Hans Hotter
3. Erster Aufzug: Seht Dort, Die Wilde Reiterin! - Sona Cervena/Ursula Boese/Gerhard Stolze/Georg Paskuda
4. Erster Aufzug: Recht So! - Habt Dank! - Ein Wenig Rast - George London
5. Erster Aufzug: Nicht Dank! - Haha! Was Wird Es Helfen? - Irene Dalis
6. Erster Aufzug: O Wunden-Wundervoller Heiliger Speer! - Hans Hotter
7. Erster Aufzug: Titurel, Der Fromme Held - Hans Hotter
8. Erster Aufzug: Weh! Weh! - Sona Cervena/Ursula Boese/Gerhard Stolze/Georg Paskuda
9. Erster Aufzug: Nun Sag'! Nichts Weisst Du, Was Ich Dich Frage - Hans Hotter

Tracks:

1. Erster Aufzug: Vom Bade Kehrt Der Konig Heim - Hans Hotter
2. Erster Aufzug: Transformation Music - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
3. Erster Aufzug: Nun Achte Wohl Und Lass Mich Seh'n - Hans Hotter
4. Erster Aufzug: Mein Sohn Amfortas, Bist Du Am Amt? - Martti Talvela
5. Erster Aufzug: Wehvolles Erbe, Dem Ich Verfallen - George London
6. Erster Aufzug: Enthullet Den Gral! - Martti Talvela
7. Erster Aufzug: Wein Und Brot Des Letzten Mahles - Sona Cervena/Ursula Boese/Gerhard Stolze/Georg Paskuda
8. Erster Aufzug: Departure Of The Knights/Was Stehst Du Noch Da? - Hans Hotter
9. Zweiter Aufzug: Vorspiel/Die Zeit Ist Da - Gustav Neidlinger
10. Zweiter Aufzug: Ach! - Ach! Tiefe Nacht! - Irene Dalis
11. Zweiter Aufzug: Ho! Ihr Wachter! - Gustav Neidlinger
12. Zweiter Aufzug: Hier War Das Tosen! - Gundula Janowitz/Anja Silja/Else-Margrete Gardelli

Tracks:

1. Zweiter Aufzug: Komm, Komm, Holder Knabe! - Gundula Janowitz/Anja Silja/Else-Margrete Gardelli
2. Zweiter Aufzug: Parsifal! - Weile! - Irene Dalis
3. Zweiter Aufzug: Dies Alles - Hab'ich Nun Getraumt? - Jess Thomas
4. Zweiter Aufzug: Ich Sah Das Kind An Seiner Mutter Brust - Irene Dalis
5. Zweiter Aufzug: Wehe! Wehe! Was Tat Ich? - Jess Thomas
6. Zweiter Aufzug: Amfortas! - Die Wunde! - Jess Thomas
7. Zweiter Aufzug: Grausamer! Fuhlst Du Im Herzen - Irene Dalis
8. Zweiter Aufzug: Vergeh, Unseliges Weib! - Jess Thomas
9. Dritter Aufzug: Vorspiel - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
10. Dritter Aufzug: Von Dorther Kan Das Stohnen - Hans Hotter

Tracks:

1. Dritter Aufzug: Heil Dir, Mein Gast! - Hans Hotter
2. Dritter Aufzug: Heil Mir, Dass Ich Dich Wiederfinde! - Jess Thomas
3. Dritter Aufzug: Zu Ihm, Des Tiefe Klagen - Jess Thomas
4. Dritter Aufzug: O Herr! War Es Ein Fluch - Hans Hotter
5. Dritter Aufzug: Nicht So! - Die Heil'ge Quelle Selbst - Hans Hotter
6. Dritter Aufzug: Gesegnet Sei, Du Reiner, Durch Das Reine! - Hans Hotter
7. Dritter Aufzug: Good Friday Music/Wie Dunkt Mich Doch Die Aue - Jess Thomas
8. Dritter Aufzug: Du Siehst, Das Ist Nicht So - Hans Hotter
9. Dritter Aufzug: Mittag - Die Stund' Ist Da/Transformation Music - Hans Hotter
10. Dritter Aufzug: Geleiten Wir Im Bergenden Schrein - Chor Der Bayreuther Festspiele/Wilhelm Pitz
11. Dritter Aufzug: Ja, Wehe! Wehe! Weh Uber Mich! - George London
12. Dritter Aufzug: Nur Eine Waffe Taugt - Jess Thomas
13. Dritter Aufzug: Hochsten Heiles Wunder! - Sona Cervena/Ursula Boese/Gerhard Stolze/Georg Paskuda

Customer Reviews:

Outstanding.......2006-07-04

I'm often skeptical of rave reviews and generally end up feeling disappointed once I have a chance to listen. This recording is an exception. The sound is excellent for an older recording and the performance is spectacular. In fact, I just can't stop listening to these four CDs of Wagner's Parsifal. Knappertsbush does a fine job conducting the Bayreuth Festival Orchestra. The cast is phenomenal. Just put the CD in your stereo, sit back and close your eyes, and you're transported to the wonderful sound of the Bayreuth opera house. I've been recommending this recording to all my Wagner-loving friends. What a find!

This isn't the best of Knappertsbusch's output.......2005-11-08

Someone will shoot me for saying this, but I think this is not the best Parsifal around. If we are merely speaking about the Bayreuth Parsifals, you can get a better one with a superior cast, once again conducted by Knappertbusch sans the plodding tempos and the added sleepiness. The last Parsifal has Jon Vickers as Parsifal with the cast featured here. I could never stand this one for the plodding tempos, despite Irene Dalis and Jess Thomas' amazing portrayal of their rolls. The 1964 Parsifal may be on mono, but it is without a doubt an excellent Parsifal, and Knappertbusch's chosen tempo for his last Parsifal transcends the earthly plain into something ethereal. But honestly, I wouldn't look to Knappertsbusch if I were to find a great Parsifal. For such a feat, I would look to Karajan or Kubelik for the greatest conducted Parsifals. I would understand the nods of assent I receive when I mention Kubelik, for his recording of Parsifal is a masterpiece that has an almost hypnotic quality to it. Add to that James King's magnificent Parsifal, Kurt Moll's superlative Gurnemanz, Yvonne Minton's superbly sung and seductive Kundry, and Matti Salminen's amazing Titurel, and you have a winner. The first act is revealing, the second act, triumphant, and the third act is transcendent...almost repentant. The sound is great too, being one of those neglected studio recordings that were vaulted due to its being overshadowed by Karajan's magnificent achievement on disc. Some people might call me controversial for praising Karajan's Parsifal, but I think that beyond the surface beauty, there is something spiritual about it. You also have the Berliner Philharmoniker playing, and their superb brass and strings enhance the beauty of the score even more. Another merit to that is the amazing cast. You have Kurt Moll as Gurnemanz, Peter Hofmann as Parsifal, Vejzovic as Kundry, and Jose Van Dam as Amfortas. Hofmann might be considered controversial due to his faulty technique, but I must say that among the great heldentenors who have sung this role, no one has a tone as beautiful as Hofmann's. The only drawback to his voice is the somewhat faulty technique he uses. Another downside that others would point out is Dunja Vejzovic's Kundry. You know what? I think she is a magnificent Kundry. Her voice has the perfect dramatic ping for it. It's seductive where it's needed, and tired...almost longing where she is too. If I were to buy a first Parsifal, I would certainly go for Karajan's, and please...don't miss out Kubelik's.

Best Bayreuth sound.......2005-08-16

How do you pick among the growing list of Knappertsbusch readings of this opera from Bayreuth?

Knappertsbusch practically owned the Grail Domain at Bayreuth through the 50s and the first half of the 60s. It was his favourite venue, where he could work, unseen by the audience, in his shirtsleeves under the unique Bayreuth hood that hid him from sight. Any or all of his performances (and more and more of them seem to pop up on disc all the time) are worth hearing.

This one from 1962 sits high on the list. There is a magnificent Gurnemanz from the great Hans Hotter, an impressive Amfortas from Thomas Stewart and a truly malign Klingsor from Neidlinger. Jess Thomas could be a very good actor on stage (I've never seen a Walther who looked more as though he was making up his Prize Song as he went along in Sachs's workshop in Act 3 of Meistersinger). The voice, though, could be a bit tight in its production for my taste. The weak link, and a crucial one, in this performance was Irene Dalis. She's just not a patch on the white-hot Marha Modl in Kna's 1951 performance.

Ah yes. There's the rub. That 1951 performance is something very special. Wagner did not call Parsifal an opera: he called it a Stage Dedication Play. And, at the festival that re-opened Bayreuth after the War, that's exactly what Kanppertsbusch gave us. Even slower speeds, even more intense concentration. And with a cast that always matches, often betters that of '62.

The one thing this recording does have over that older one is the sound, the most accurate representation you'll hear in your living room of the unique Bayreuth sound. And remember, this was the one piece that Wagner wrote with the experience of that sound in his mind. For that as well as for a great (though not the greatest) interpretation, this recording is well worth trying.

Kna's famous Parsifal.......2004-10-22

This Parsifal is natural, organic, free and doesn't attract attention to itself.

My favorite is still the Karajan, but I still give this recording its due respect for the cast, orchestra, conducting, interpretation and sound quality.

When listening to Parsifal, one should try to understand the symbolism and esoteric content in Wagner's mystery drama.

Fortunately a famous author named Samael Aun Weor has written a book entitled "Parsifal Unveiled", yet to be released by the newly founded Thelema Press. Upon the release of this book, it will clarify the speculation and confusion that has enshrouded Wagner's Parsifal since it's first performance.

...and Irene Dalis.......2004-09-11

I wholeheartedly agree with the accolades heaped on this recording. I have been trying to "love" this difficult opera for many years and through many recordings; this brilliantly conducted, magnificently sung version has done it for me. Somehow the contribution of Irene Dalis has been minimized. My main reason for this review is to call attention to her brilliant Kundry.

Average customer rating: How to choose a Kna Parsifal? This is the 1954 KNA recording

Wagner: Parsifal Manufacturer: Archipel ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music ASIN: B0007OP1LW Release Date: 2005-03-01

Customer Reviews:

How to choose a Kna Parsifal?.......2007-05-30

Old hands who are devoted to Knappertsbusch as the ultimate conductor of Parsifal, an opera he owned at Bayretuh after the war, will want any number of his performances. Newer listeners, intrigued by the legend, will feel bewildered by the fact that so many choices exist, however. For a long time there were only two "official" choices, i.e., LP sets made by major record labels. Collectors argued over which one waas better, the 1951 or the 1962. The former is in muzzy sound but features the absolute best in post-war Wagner singing. The 1962, in good stereo, has excellent singing but of a slightly lower caliber--in the case of Hans Hotter, who sings Gurnemantz on both sets, time had frayed his voice but left a profound portrayal intact.

The other Kna versions on CD derive from Radio Austria tapes, mostly pirated. Here we have a mono 1954 tape that is remarkably clear and full; it's fully the equal of the job Decca did in 1951 and in some ways is more listenable. So far as casting goes, Modl's Kundry and Windgassen's Parsifal first appear in 1951 and return repeatedly in later years. Both are fine, although I will never be fond of Windgassen's dry, unbeautiful voice. Kna's conducting is as slow and steady as ever, never excitable (or exciting--it's the long span of events that he had mastered). To my ears, he has the Bayreuth orchestra playing better than usual, which is a plus.

The biggest change is that Hotter takes on Amfortas while his usual role, Gurnemanz, is given to George London. The difference in characterization is striking. Hotter's portrayal is detailed, varied, wise, and poignant. London's is stern, often angry-sounding, and unvaried. He relies on his magnificent, rock solid voice to carry the part rather than making much attempt at psychology. Which is not to say that Hotter will be preferable to everyone, since his timbre can be wooolly and wobbly. Both singers are authoritative, and Amfortas was also a prime role for Hotter.

I've only given a thumbnail sketch, but in the end this 1954 performance would be my third choice among Kna/bayareuth Parsifals. The first two are the 1951 classic and the very last one Kna conducted in 1964, which features Jon Vickers in his only recording of the title role, at which he is magnificent, far outstripping in vocal glory any post-war Parsifal since Melchior. This 1954 version makes it in third place instead of the 1962 because I am no fan of Jess Thomas's Parsifal, finding it vocally weak. But others call the 1962 a great recording. It's up to you.

In the end, I don't rate any Kna reading as high as the incomparable Karajan set on DG, an opinion that will infuriate Kna idolators.

This is the 1954 KNA recording.......2006-03-18

Fo details of this set go to Arkiv
also I just posted a short comment of both this great 1954 and 1952 recordinhs.
Both on Archipel.


So go to the Archipel 1952 Parsifal for comments.

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