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Parsifal
It is remarkable that this was just the second summer of the Bayreuth Festival after WWII, yet they had already achieved a level of artistic excellence rarely paralleled in the time since, anywhere in the world. Hans Knappertsbusch is the true star of this performance, as is the Bayreuth orchestra, who bring a level of lyricism and emotion to this score that I have never heard before. The string sections, in particular, sound as though they are populated by world-class soloists, both in tone and commitment to the melodic line. Listen to how they play through the long notes—this is highlighted in the sample I specifically chose. The intention never flags, allowing Knappertsbusch to revel in the magic of this score in a way that would be impossible with a lesser band. If you ever had reservations about Martha Mödl's vocal ability, this performance will put them all to rest. She sings with her signature dramatic commitment and remarkable vocal control. Not only are the dramatic moments full-throated, but she also manages some exquisite pianissimi. Wolfgang Windgassen's pristine tenor is perfectly cast in the title role. I could continue to sing the praises of Ludwig Weber's majestic Gurnemanz and George London's anguished Amfortas, but I will leave it at this—this Parsifal is near definitive.
Track List
Act I
1. Vorspiel
2. He! Ho! Waldhüter ihr
3. Seht dort die wilde Reiterin!
4. Recht so! Habt Dank! Ein wenig Rast
5. He! Du da! Was liegst du dort wie ein wildes Tier?
6. Oh, wunden-wundervoller heiliger Speer!
7. Titurel, der fromme Held
8. Weh'! Weh'! Hoho!
9. Wo bist du her?... Das weiss ich nicht
2. He! Ho! Waldhüter ihr
3. Seht dort die wilde Reiterin!
4. Recht so! Habt Dank! Ein wenig Rast
5. He! Du da! Was liegst du dort wie ein wildes Tier?
6. Oh, wunden-wundervoller heiliger Speer!
7. Titurel, der fromme Held
8. Weh'! Weh'! Hoho!
9. Wo bist du her?... Das weiss ich nicht
Act II
10. Die Zeit ist da
11. Ach! Ach! Tiefe Nacht...
12. Furchtbare Not!
13. Hier war das Tosen
14. Komm! Komm! Holder Knabe!
15. Parsifal! Weile!
16. Ich sah das Kind
17. Amfortas! Die Wunde!
18. Grausamer! Fühlst du im Herzen
19. Auf Ewigkeit wärst du verdammt
20. Nie sollst du ihn finden!
21. Erlösung, Frevlerin, biet' ich auch dir.
11. Ach! Ach! Tiefe Nacht...
12. Furchtbare Not!
13. Hier war das Tosen
14. Komm! Komm! Holder Knabe!
15. Parsifal! Weile!
16. Ich sah das Kind
17. Amfortas! Die Wunde!
18. Grausamer! Fühlst du im Herzen
19. Auf Ewigkeit wärst du verdammt
20. Nie sollst du ihn finden!
21. Erlösung, Frevlerin, biet' ich auch dir.
Act III
22. Vorspiel
23. Von dorther kam das Stöhnen
24. Wer nahet dort dem heil'gen Quell?
25. Erkennst du ihn? Der ist's, der einst den Schwan erlegt.
26. Heil mir, dass ich dich wieder finde!
27. O Herr! War es ein Fluch
28. Und ich ich bin's, der all dies Elend schuf!
29. Du wuschest mir die Füsse
30. So ward es dir verhiessen
31. Du siehst, das ist nicht so
32. Mittag - Die Stund' ist da
33. Geleiten wir im bergenden Schrein
23. Von dorther kam das Stöhnen
24. Wer nahet dort dem heil'gen Quell?
25. Erkennst du ihn? Der ist's, der einst den Schwan erlegt.
26. Heil mir, dass ich dich wieder finde!
27. O Herr! War es ein Fluch
28. Und ich ich bin's, der all dies Elend schuf!
29. Du wuschest mir die Füsse
30. So ward es dir verhiessen
31. Du siehst, das ist nicht so
32. Mittag - Die Stund' ist da
33. Geleiten wir im bergenden Schrein
Customer Reviews
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5.0
Based on 5 reviews
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United States
The finest Parsifal performance ever?
Perhaps not, because of the mono sound. But it is worth making the argument nevertheless. This is indeed one of the "golden trio" of Parsifals: Kna1951, 1952, and 1954, while many who love this remarkable opera rank Kna1952 first. The sound quality is comparable to the Kna1951, arguably just slightly less, although the difference is not easily noticeable. The sound is pleasurably warm and the microphone placement is well-judged to give a nice balance between orchestra and singers (a technical detail that all but ruins other Bayreuth recordings). There is no aspect of the reproduction that would limit one's full enjoyment. George London's performance of Amfortas sets a historical standard. Ludwig Weber is a superb Gurnemanz, while Martha Mödl and Wolfgang Windgassen are wonderfully passionate. Hermann Uhde is my all-time favorite Klingsor, nasty as well as unhinged; having a deep and menacing voice is necessary but only gets you so far if Klingsor doesn't communicate the creepiness. Here we also have the real Parsifal Bells: they shake the hall and sound awesome!! And the Act III bells are caught better than in 1951.Knappertsbusch becomes one with the music, the Bayreuth orchestra is inspired to a transcendent level, and even though he conducted it so many times there, this one grabs you by the throat. For some reason that is hard to explain in words, the linear flow, the dramatic balance, and the overall coherence define a magisterial conception. Not to be missed!
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✓ Verified Buyer
Australia
Parsifal Bayreuth 1952
Interesting to hear this performance as against the 1951. Sound was excellent and the performers wonderful.
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Switzerland
✓ Top Reviewer
France
Inauguration renouvelée
Je partage l'enthousiasme . Concernant les faux départs c'est souvent le problème avec Knappertsbusch qui n'aimait pas répéter (les anecdotes sont légion) .
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