Wagner: Parsifal
Arts - ARTS 43027-2
Kompozytor
Richard Wagner (1813-1883)
Richard Wagner (1813-1883)
Wykonawcy
Roland Bracht, Bass
James King, Franz Mazura, Baritone
Yvonne Minton, Mezzo soprano
Kurt Moll, Bass
Norbert Orth, tenor
Carmen Reppel, soprano
Matti Salminen, Bass
Marga Schiml, Mezzo soprano
Marianne Seibel, soprano
Suzanne Sonnenschein, Bernd Weikl, Baritone
Bavarian Radio Symphony Orchestra / Rafael Kubelik
Roland Bracht, Bass
James King, Franz Mazura, Baritone
Yvonne Minton, Mezzo soprano
Kurt Moll, Bass
Norbert Orth, tenor
Carmen Reppel, soprano
Matti Salminen, Bass
Marga Schiml, Mezzo soprano
Marianne Seibel, soprano
Suzanne Sonnenschein, Bernd Weikl, Baritone
Bavarian Radio Symphony Orchestra / Rafael Kubelik
Utwory na płycie:
- 1 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Vorspiel (1. Akt).mp3
- 10 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Du konntest morden, hier, im heil gen Walde.mp3
- 11 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Wo bist du her .mp3
- 11 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Wo bist du her.mp3
- 12 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Den Vaterlosen gebar die Mutter.mp3
- 13 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - So recht! So nach des Grales Gnade.mp3
- 14 Vom Bade kehrt der König heim.mp3
- 15 Nun achte wohl und lass mich seh n.mp3
- 16 Mein Sohn Amfortas, bist du am Amt.mp3
- 17 Nein! Lasst ihn unenthüllt.mp3
- 18 Nehmet hin meinen Leib.mp3
- 19 Was stehst du noch da .mp3
- 19 Was stehst du noch da.mp3
- 2 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - He! Ho! Waldhüter ihr.mp3
- 20 Vorspiel (2. Akt).mp3
- 21 Die Zeit ist da.mp3
- 22 Erwachst du Ha!.mp3
- 23 Jetzt schon erklimmt er die Burg.mp3
- 24 Hier war das Tosen.mp3
- 25 Ihr schönen Kinder.mp3
- 26 Komm, komm! Holder Knabe!.mp3
- 27 Parsifal! - Weile.mp3
- 28 Ich sah das Kind an seiner Mutter Brust.mp3
- 29 Wehe! Wehe! was tat ich .mp3
- 29 Wehe! Wehe! was tat ich.mp3
- 3 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Seht dort, die wilde Reiterin!.mp3
- 30 Amfortas! - Die Wunde!.mp3
- 31 Grausamer, fühlst du im Herzen.mp3
- 32 Auf Ewigkeit wärst du verdammt.mp3
- 33 Vergeh, unseliges Weib!.mp3
- 34 Halt da! Dich bann ich mit der rechten Wehr!.mp3
- 35 Vorspiel (3. Akt).mp3
- 36 Von dorther kam das Stöhnen.mp3
- 37 Du tolles Weib! Hast du kein Wort für mich .mp3
- 37 Du tolles Weib! Hast du kein Wort für mich.mp3
- 38 In düstrem Waffenschmucke .mp3
- 38 In düstrem Waffenschmucke.mp3
- 39 Heil mir, dass ich dich wiederfinde!.mp3
- 4 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Recht so! Habt Dank!.mp3
- 40 O Gnade! Höchstes Heil!.mp3
- 41 Nicht so! - Die heil ge Quelle selbst.mp3
- 42 Du wuschest mir die Füsse.mp3
- 43 Wie dünkt mich doch die Aue heut so schön.mp3
- 44 Mittag - Die Stund ist da.mp3
- 45 Geleiten wir im bergenden Schrein.mp3
- 46 Ja, wehe! Wehe! Weh über mich.mp3
- 47 Nur eine Waffe taugt.mp3
- 5 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - He, du da! Was liegst du dort wie ein wildes Tier .mp3
- 5 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - He, du da! Was liegst du dort wie ein wildes Tier.mp3
- 6 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Das ist ein andres.mp3
- 7 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Titurel, der fromme Held, der kannt ihn wohl.mp3
- 8 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Vor allem nun_ der Speer kehr uns zurück!.mp3
- 8 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Vor allem nun: der Speer kehr uns zurück!.mp3
- 9 Parsifal (Oper in 3 Akten) (Gesamtaufnahme) - Weh! Weh!.mp3
This splendid set, recorded commercially in 1980 but held up due to contractual problems, here makes (to the best of my knowledge) its first appearance on CD. Entirely tic-, quirk-, and eccentricity-free, this performance's translucence is one of its great virtues, and there are very few drawbacks. Tempos are ideal, buildups natural, peaks never overstated. Paying the most scrupulous attention to dynamics I've ever heard, Rafael Kubelik keeps the mood mysterious and pious. Parsifal himself, as sung by James King in Act 1 and the start of Act 2, is boyish and tentative. At first it's easy to think he's merely undersinging and saving himself--or that he's simply under-powered; but in fact, it's a brilliantly thought-through and executed performance. The Kundry/Parsifal encounter in Act 2 is so suggestive, so whispered, so intimate, that when Parsifal finally explodes with awareness ("Amfortas! Die Wunde!") it is truly his awakening. From there until the act's end he grows in stature (and voice), and with spear in hand, he's truly magnificent and fearsome in his new-found strength. His potent calmness in Act 3 is palpable and by the close he is truly worthy of the Grail. It's a nuanced, brilliant performance.
Kurt Moll, with his big cavernous sound, keeps it in check for all but the most extroverted, extravagant moments (recognizing Parsifal in Act 3, etc.), and if he never quite sounds as weary in Act 3 as Hans Hotter does, he certainly sings the role more beautifully than anyone else in memory. He also exudes true authority and a type of cosmic calm when he must--his voice is in perfect condition and his pianissimos are beautiful. In all, no complaints about his excellent performance.
Yvonne Minton's Kundry is a mixed bag: she's brilliantly insightful and expressive, and at low volume (most of the role, the way Kubelik plays it) she's remarkable. But in the rare forays into forte and above the staff, the tone is hard and unhappy. She's no Christa Ludwig (perfect for Solti) or Waltraud Meier (her only decent recorded performance, for Barenboim) or Mödl (loony but irresistible for Knappertsbusch in '51) or Jessye Norman (gorgeous, with Levine), but she certainly is not a problem and uses her undersized voice with blazing passion. Matti Salminen's vibrato-free sound as Titurel is oddly commanding, and Bernd Weikl is a suitably agonized Amfortas. Franz Mazura's Klinsor is a nasty, snarling piece of work, wonderfully corrupt. The rest are very good, with Lucia Popp's First Flower Maiden particularly seductive. The chorus is just about perfect, as is the orchestra; they sing and play with luster and at times a type of dreaminess I've never encountered before.
There's a stillness, a sense of timelessness to this reading that is unmatched by any other I've heard (even Karajan's), and it's not only appropriate, it's hypnotic. Solti's may be more awe-inspiring and Knappertsbusch's more fanatically Wagnerian, but this is something otherworldly. The recording is early digital, and a boost to the treble brings it more forward--just to the right place. This is a performance that chills and warms just where it should. Highly recommended.
--Robert Levine, ClassicsToday.com
Kurt Moll, with his big cavernous sound, keeps it in check for all but the most extroverted, extravagant moments (recognizing Parsifal in Act 3, etc.), and if he never quite sounds as weary in Act 3 as Hans Hotter does, he certainly sings the role more beautifully than anyone else in memory. He also exudes true authority and a type of cosmic calm when he must--his voice is in perfect condition and his pianissimos are beautiful. In all, no complaints about his excellent performance.
Yvonne Minton's Kundry is a mixed bag: she's brilliantly insightful and expressive, and at low volume (most of the role, the way Kubelik plays it) she's remarkable. But in the rare forays into forte and above the staff, the tone is hard and unhappy. She's no Christa Ludwig (perfect for Solti) or Waltraud Meier (her only decent recorded performance, for Barenboim) or Mödl (loony but irresistible for Knappertsbusch in '51) or Jessye Norman (gorgeous, with Levine), but she certainly is not a problem and uses her undersized voice with blazing passion. Matti Salminen's vibrato-free sound as Titurel is oddly commanding, and Bernd Weikl is a suitably agonized Amfortas. Franz Mazura's Klinsor is a nasty, snarling piece of work, wonderfully corrupt. The rest are very good, with Lucia Popp's First Flower Maiden particularly seductive. The chorus is just about perfect, as is the orchestra; they sing and play with luster and at times a type of dreaminess I've never encountered before.
There's a stillness, a sense of timelessness to this reading that is unmatched by any other I've heard (even Karajan's), and it's not only appropriate, it's hypnotic. Solti's may be more awe-inspiring and Knappertsbusch's more fanatically Wagnerian, but this is something otherworldly. The recording is early digital, and a boost to the treble brings it more forward--just to the right place. This is a performance that chills and warms just where it should. Highly recommended.
--Robert Levine, ClassicsToday.com