Unfortunately, Boulez destroyed everything that Wieland and especially Knappertsbusch had built from 1951 to 1964.A light Parsifal is no Parsifal. It must be given, at the very least, drama (as Clemens Krauss did in 1953). And not superficial lightness, even if all the instruments are heard in each measure. This is not the real Wagner. As a document it is fine. But not as a reference version of the Bühnenweihfestspiel

There are those who insist Boulez is too fast and superficial in this work, but his brisker pacing is a relief after so many broader paced readings. His cast is terrific. Konya sings very beautifully and if he doesn't plumb the depths of the pain in the part as others do, that's all right. It's so good to hear the music sung so well. Other commenters have lamented that Varnay was past her vocal prime by this point, but it doesn't matter. Her singing reveals in every phrase the lifetime of experience she had in this music and her ability to express that makes Kundry a fascinating character indeed. The high notes at the end of Act Two are very exciting and she fearlessly performs all of Kundry's scripted screams. Greindl is a very moving Gurnemanz while Stewart conveys all of Amfortas' pain while singing with bel canto finesse. Neidlinger is a baleful Klingsor. The entire cast is great as is the orchestra and chorus - those were the days!The sound is excellent throughout. There is a tiny bit of music missing from Gurnemanz's part before the Good Friday music, probably lost in transmission. If you're not paying strict attention you'll miss it. Parsifal lovers should get this!

Other reviewers have said how good Greindl, Varnay, and Konya are, but don't overlook Gustav Neidlinger (Klingsor). He's (almost) always excellent, but tonight he surpasses himself. With Varnay's sardonic, sneering laughter underneath his ranting, the two of them burn up the stage at the beginning of Act 2.

Although Boulez was still finding his marks at that stage, this is, for me, his ultimate Parsifal and a welcome illustration that another way is possible as compared to Knappertsbusch’s outstanding, slow, highly religious approach. A ‘human’ Parsifal much like his Ring cycle. It is also a fantastic opportunity to hear Astrid Varnay’s much under-recorded Kundry. 1966 was late for her and it shows - high notes are shouted rather than sung, but always perfectly on pitch... and the character is fascinating. The emphasis she puts on key words and phrases shows a deep bond with the role and profound understanding of the wretched Kundry. As for Konya he is in his best voice - just as ethereal yet strong and powerful as he was when impersonating Parsifal’s son, Lohengrin. Greindl, unfortunately, is in raucous voice but his gruff interpretation fits well with Boulez’s conception. And Thomas Stewart is an affecting Amfortas. The sound is very good - thank you for making this available in FLAC format! All in all - must have... all the more welcome here as the Golden Melodram commercial set has long been unavailable.

I'm not familiar with Boulez's commercial Parsifal, but I found this earlier performance quite captivating. Sandor Konya is probably the best Parsifal on record. Astrid Varnay was clearly past her best, but still gives a convincing Kundry. A serious drawback, however, is the Gurnemanz of Joseph Greindl whose coarse, unattractive voice is simply incapable of expressing the character's joy and rapture in Act III (it's less of a detriment in Act I). He's not an absolute disaster but pretty close. Sound quality is good.

Many thanks for sending the replacement CDs and the insert. I've played through Side 2without a hitch and assume that I'll have the same result with the last act. Performance magnificent and recording quality astonishing..Congratulations and thanks for all your work, Sydney McMinn.

Very fine performance, I read the Boulez’ introduction on 1970’s LP and I found a lot of interesting confirmations listening to this Parsifal.Lightness, clarity, great importance to the Leit-motiven, brisk tempos but a lot of respect for Wagner.I prefer 1967 performance with all-star cast and with Christa Ludwig, but 1966 Parsifal is near perfect