Wilhelm Richard Wagner (1813-1883) Parsifal by Hans Knappertsbusch 1962 ***Listen to our latest mastering update (2023)*** : bit.ly/3K75vuF 🎧 Qobuz (Hi-Res) bit.ly/3Il9WRf Tidal (Hi-Res) bit.ly/3jKomRu 🎧 Apple Music (Lossless) apple.co/431yE1c Deezer (Hi-Fi) bit.ly/3Yq2QQZ 🎧 Amazon Music (Hi-Res) amzn.to/3NWhoVp Napster (Hi-Fi) bit.ly/3GNOlPx 🎧 Spotify (mp3) spoti.fi/3Isx0O5 UA-cam Music (mp4) bit.ly/3K75vuF 🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本… Parsifal : Ein Bühnenweihfestpiel / A Sacred Festival Stage-play / Festival dramatique et sacré *Click to activate the English subtitles for the presentation* (00:00-06:35) Act 1 Vorspiel - Prélude (00:00) He! Ho! Waldhüter Ihr (11:56) Seht Dort, Die Wilde Reiterin (17:09) Recht So! Habt Dank! Ein Wenig Rast! (20:24) Nicht Dank! Haha! Was Wird Es Helfen? (26:42) O Wunden-Wundervoller Heiliger Speer (34:50) Titurel, Der Fromme Held (39:10) Weh! Hoho! Auf! (50:29) Nun Sag'! Nichts Weißt Du, Was Ich Dich Frage (58:20) Vom Bade Kehrt Der König Heim (1:05:42) Verwandlungsmusik - Transformation Music (1:07:53) Nun Achte Wohl Und Lass Mich Seh’n (1:11:33) Mein Sohn Amfortas, Bist Du Am Amt? (1:18:34) Wehvolles Erbe, Dem Ich Verfallen (1:21:42) Enthüllet Den Gral! (1:30:04) Wein Und Brot Des Letzten Mahles (1:36:14) Was Stehst Du Noch Da? (1:40:59) Act 2 Vorspiel - Prélude...Die Zeit Ist Da (1:47:40) Ach! Ach! Tiefe Nacht! (1:53:55) Ho! Ihr Wächter! Ho! Ritter! (2:01:33) Hier War Das Tosen! Hier, Hier! (2:05:03) Komm, Holder Knabe! (2:09:54) Parsifal! Weile! (2:15:29) Dies Alles Hab'Ich Nun Getraumt? (2:18:30) Ich Sah Das Kind An Seiner Mutter Brust! (2:21:38) Wehe! Was Tat Ich? Wo War Ich? (2:27:07) Amfortas! Die Wunde! (2:32:32) Grausamer! Fuhlst Du Im Herzen (2:40:17) Vergeh, Unseliges Weib (2:52:35) Act 3 Vorspiel - Prélude (2:56:40) Von Dorther Kam Das Stöhnen (3:01:18) Heil Dir, Mein Gast! (3:09:10) Heil Mir, Dass Ich Dich Wiederfinde! (3:15:21) Zu Ihm, Des Tiefe Klagen (3:17:09) O Herr! War Es Ein Fluch (3:19:49) Nicht So!...Die Heil'Ge Quelle Selbst (3:26:40) Parsifal Gesegnet Sei, Du Reiner, Durch Das Reine! (3:30:46) Parsifal Karfreitagszauber (3:35:05) Parsifal Du Siehst, Das Ist Nicht So (3:38:42) Mittag...Die Stund' Ist Da…Verwandlungsmusik - Transformation Music (3:45:12) Parsifal Geleiten Wir Im Bergenden Schrein (3:50:11) Ja, Wehe! Wehe! Weh Über Mich! (3:54:25) Nur Eine Waffe Taugt (4:01:31) Parsifal Höchsten Heiles Wunder! (4:05:45) Main actors / Acteurs principaux Amfortas : George London Titurel : Martti Talvela Gurnemanz : Hans Hotter Parsifal : Jess Thomas Klingsor : Gustav Neidlinger Kundry : Irene Dalis Chor und Orchester der Bayreuther Festspiele Chorus and Orchestra of the Bayreuth Festival Chorus Master / Choreinstudierung : Wilhelm Pitz Dirigent / Conductor : Hans Knappertsbusch Live recording at the Bayreuth Festival in 1962 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr Le festival scénique de l'Anneau du Nibelung, pour lequel Wagner fit construire le théâtre du festival, et le jeu scénique solennel de Parsifal, composé spécialement pour ce théâtre, sont les deux véritables ouvrages du festival et constituent le noyau du Festival de Bayreuth.Parsifal et son exigence inconditionnelle du spirituel dans l'art dramatique représente la tentative la plus radicale de Wagner pour donner une base humanitaire à son époque sécularisée et matérialiste. A l'égoïsme, garant du succès, il opposa l'idée humanitaire de la compassion et celle de l'action qui résulte de la prise de conscience de la responsabilité morale de l'homme. Wagner a donné à Parsifal le titre de Bühnenweihfestspie/ (jeu scénique de célébration solennelle). Dans son acception poétique et artistique, ce terme de célébration a pour lui le sens d'une élévation de la conscience, passant d'un état ordinaire et trivial, à un degré supérieur et spirituel. Wagner sort le terme de sa sphère d’origine, où il avait un sens religieux et étroit, pour le transférer dans celle de l’humanisme absolu. Appliqué au domaine de la mise en scène théâtrale, ce terme n’était pas synonyme d'une action sacrée pour Wagner, mais exprimait plutôt une disposition d'esprit particulière, permettant d'atteindre un principe stylistique spécifique. En aucun cas, Wagner entendait donner à ce terme le sens de "théâtre religieux" ni celui de "religion au théâtre". Il a toujours différencié strictement les deux aspects. La tâche du théâtre consiste à donner une représentation offrant au spectateur la possibilité de parvenir à une prise de conscience. La religion, en revanche, consiste à amener les hommes à la foi en annonçant ses vérités révélées. Tous deux, la religion et le théâtre, ont cependant un but commun, à savoir prendre soin de l'éducation éthique des hommes afin qu'ils comprennent le sens moral de l'ordre du monde. La philosophie critique de Wagner repose sur la constatation que l'absence d'amour est le véritable mal du monde. C'est la compassion qui doit provoquer cette prise de conscience - l'amour compatissant pour autrui -, et c'est cet amour compatissant qui peut alléger les souffrances d'autrui. La compassion, telle que l'entend Wagner, repose sur la compréhension mutuelle et sur des relations sociales libres qui ne sont déterminées ni par le pouvoir et la domination, ni par l’esclavage. Avec Parsifal, Wagner essaie de donner au théâtre lyrique de son temps, qui était voué au divertissement, une dignité et une force expressive comparables à celles du théâtre grec de l'antiquité. La Flûte enchantée de Mozart, avec son idéal éthique, et, dans le domaine symphonique, la Neuvième Symphonie de Beethoven, sont les derniers chefs-d’œuvre de cette chaîne traditionnelle européenne. Selon Wagner, l'idée de rédemption appartient à toutes les grandes religions du monde. Pour lui, la signification de Parsifal réside dans le conflit entre le principe du Bien, représenté par le monde du Graal et son roi Titurel, et le principe du Mal, représenté par le sorcier Klingsor, qui s'efforce d'asseoir son propre pouvoir sur le Graal. Wagner utilise un modèle dramatique employé dans les moralités du moyen-âge et du baroque, qui associaient à la lutte entre le Bien et le Mal celle de la Vertu et du Vice. Le combat est rendu exemplaire à travers la rencontre du héros avec une belle femme séduisante à laquelle il doit résister s'il veut acquérir la conscience du Bien et de la Vertu. Ce modèle iconographique des moralités s'inscrit également dans les décors. D'un côté le château chrétien du Graal, situé dans un endroit difficile d'accès au nord de l'Espagne gothique, de l'autre le jardin enchanté de Klingsor, avec sa végétation tropicale, situé au versant sud de la montagne, tourné vers l'Espagne chaude, païenne et arabe. La nature innocente et libre, la forêt du Graal et le pré du Vendredi saint sont placés en dehors des pôles opposés du bien et du mal. Depuis l'époque romantique, la Nature et le paysage ont toujours été considérés comme l'une des formes par lesquelles se révélait le divin. Cette donnée apparaît également dans la scène où les fleurs du jardin enchanté, après avoir adressé à Parsifal un sourire plein de séduction pour se faner aussitôt après, sont finalement délivrés du mal sur le pré du Vendredi saint. Parsifal est aussi le roman de l'éducation du héros éponyme. Au début, il est le "chaste fol" (Der reine Tor), tout en étant aussi un être niais à la démarche chancelante. Il n'est pas encore conscient. Il obtient cette conscience en embrassant Kundry, car son baiser fait de lui un être "clairvoyant au monde" et sa propre expérience de la souffrance le rend capable de compassion. Il doit marcher "sur le sentier de l'égarement et de la souffrance" jusqu'à ce qu'il trouve le chemin du Graal et qu'il puisse apporter la rédemption, par ses accents de compassion, à Kundry, Amfortas et au monde du Graal. Le personnage de Kundry est certainement l'une des créations majeures de Wagner. Il n'eut une vision claire du sujet qu'après avoir compris que la messagère sauvage du Graal et la séductrice du deuxième acte n'étaient qu'une seule et même personne. En raison de sa malédiction - sans pitié, elle s'était moqué du Christ souffrant -- Kundry doit subir les souffrances de toute l'humanité, tout comme Ahasver, le juif errant. Elle exprime ses sentiments par l'affliction sauvage et la raillerie. Elle est sans nom parce qu'elle a tous les noms: Rose d'enfer, Hérodias, Gundryggia. Quoiqu'elle ait promis à Parsifal la "divinité" et le "savoir", tout comme le serpent du Paradis, celui-ci lui résiste et la délivre ainsi de sa malédiction. Il compatit avec elle et procède à son baptême. Kundry n'est pas vouée à la damnation éternelle comme les diablesses des moralités. Elle entre au Graal, réconciliant ainsi le principe de l'éternel féminin qu'elle symbolise. Wagner - Parsifal Opera (recording of the Century : Hans Knappertsbusch 1951) ua-cam.com/video/EWXNUADhMzo/v-deo.html Richard Wagner PLAYLIST (reference recordings) ua-cam.com/video/gGAKgoclJ6A/v-deo.htmlbit.ly/3K75vu
Great recording of one of the world's artistic Masterpieces, a musical equivalent of the SistineChapel or Köln Cathedral. This shows that spirituality does not need a religious credo to be eternal. The feelings felt and expressed are universal and timeless. This and the 1951 recording are two of the earliest recordings I bought more than 50 years ago. Never tired of listening to eternity.
Spirituality doesn't have much meaning if there is no other content than some vague feelings. Wagner himself had a very definite 'credo' which goes back to Schopenhauer.
This is not music. This is another dimension altogether. And Knappertsbusch 1962 is the greatest recording of it I know. Thank you for uploading this jewel.
Parsifal es como un puente de cristal entre esta y la otra dimensión, que se rompe tras cada paso que damos sobre él y nos deja, para siempre, vagando en un abismo de fantasía....
I was 15 yrs old when this was released on LP. I saved my weekly allowance to buy it. It sold for about $45 but I had to have it. It was on 5 LPs. Ive loved Parsifal ever since and finally saw it in Bayreuth in 2018. It's my favorite music drama.
Nice cast! Great orchestration. There are some great Wagner singers now days as well as conductors. What I can't deal with are these ridiculous productions. Leave Wagner alone. I would love to see a classic production of this opera. This musical drama, the only one that actually moved me to tears when I first heard and comprehended the story. Thank you for putting this up for everyone to enjoy.
Yes, certainly, a lovely performance but what strikes me is what great sound! Big, full, clear, with a wide stereo image, tremendous job by the recording engineers.
....A gem in my collection.... ....a cast of awesome quality. The great „Kna“ has icons of musical artists under his baton. The time when applauding after the first act was impossible......Wagners most sacred music. Heard it live in Bayreuth and New York in the seventies and I will never forget it. George London is Amfortas for the Universe... RDS
Irene Dalis is just wonderful in this recording. No comparison to modern recordings of the piece. Her control, timbre and especially great use of low register make me come back to this recoding over and over
Knappertsbusch applies his artistic intent to this latent content with greater efficacy and clarity than almost any other conductor of this supreme artistic feat--a true "Recording of the Century"! I also very much appreciate your commentary that accompanies the prelude; it concisely outlines Wagner's rational behind "Parsifal" and contextualises its role both within Wagner's own social context and that of the broader European tradition that he both applied and shaped (in an artistic approach that is clearly articulated at the conclusion of "Die Meistersinger von Nürnberg").
@@SymphonyBrahms I read this argumentation while listening to this extraterrestrial sound, and I wander:who cares who is the greatest? (Let alone that you did not mention Bach). It is very wrong to compare the greats: in any case they were all playing in a different “ball game”. And even if say Schubert is not in your list: I still have to listen to Fantasia in F minor for four hands EVERY DAY (and more than once)! So is it composing dexterity that makes one great? Or, is it the ability to touch people*s souls and make them experience rare emotions? I would say … all three!!!
@@panossolo909 Those "greatest" lists are forsports fans. The fact that THIS opera is great cannot be questioned. It is my favorite opera, even above all other Wagner operas. That's enough for me.
I used to have this Recording on LP. I cried many times hearing this out of this world music... I always wondered what kind of feelings Wagner had when he wrote it...?
on Wikipedia it says that the underlying theme for this Opera was Wagner's racialist views, particularly his fear of the demise of Western civilization due to the possibility of miscegenation and of the mixing of "superior" and "inferior" races...
@@africanfromafrica This opera is a mixture of Christian elements with others of a Gnostic nature. To claim that musical drama expresses Wagner's racist ideas is to reduce the content of the work to mere propaganda that disregards the symbolic aspects elaborated by the composer. It's always important to remember: much of Wikipedia's content is just bullshit.
@@africanfromafrica I believe that the sentiments underlying Parsifal are both dark and light; shadow and enlightenment. Wagner was a complex figure and allowing for his ardent anti-Semitism, I've come to accept that evil and goodness exist together in all of us. The trick is to acknowledge both and choose to act on the goodness. As one Jewish women once said about Wagner: " I refuse to believe that anyone who wrote music like this wasn't divinely inspired." As a person of color, I couldn't enjoy this music without appreciating that reality; without holding the tension of good and evil in each of us, I would be forced to reject the world.
I can't say more than what's already been said about the artistry of this amazing performance...I've listened to it so many times, but I can't find any other performance that compares...even Karajan's!
A pesar de que escucho una y otra vez el fragmento Titurel der Fromme Held, sigo sin dejar de sentirme elevado por esa música extraordinaria, parece que su encanto es una fuente inagotable... una maravilla...
@Vishnujana Dasa From my reading, Wagner was a nervous wreck bringing Parsifal to completion. He was housed in Venice at a palazzo at that time (which I saw back in the 70s when I visited the city) surrounded by rose petals, soft silk fabrics and a doting Cosima. Wagner suffered from heart trouble and was able to complete the scoring in January 1862 (he died in February 1883 of a massive heart attack, but lived long enough to see it performed at Bayreuth). Wagner finished Parsifal practically with his last breath. It was a final, and in my estimation, his finest musical creation. Of cosmic origins.
An ardent Parsifal fan since the 60s, I know that Wagner completed it with everything he had left to give. He summoned his immense creative resources at a time when his corpus was failing. The result? One of our greatest works of art; a final offering for redemption by an artist seeking forgiveness. Well done!
Certamente uno dei più belli. Kna aveva qualcosa di speciale in qualunque caso, ma il Parsifal lo aveva nelle vene. Splendido suono wui, nel '62, ed altrettanto splendidi cantanti (impossibili da trovare oggigiorno).
In my opinion i have to say that Ludwig Weber in 1951 set a standard for Gurnemanz that has yet to be equalled never mind bettered. Hotter is good but Weber was on a different level.
For the combination of sound quality and inspiration and characterization this recording is the standard, though I could name half a dozen other essentials.
Yes! the recorded acoustical ambiance plus the "vocal instruments" of these principal singers (esp London Hotter & Neidlinger -- 3 distinct baritonal timbres each perfect for their role) plus the inspired performance of all involved (honorable mention to the chorus) make this THE Parsifal of all time.
@@ilirllukaci5345 Quite right! Also some famous singers did small parts: Gundula Janowitz and Anja Silja were Blumenmaedchen and Gerhard Stolze was one of the Knappen.
The audio quality is wonderful considering the age of the recording. This performance is about 25 minutes faster than Kna's 1951 absolutely mind blowing Bayreuth performances with one of the best cast of soloists ever assembled. The cast on this recording are very good but the combination of Windgassen, Weber, Modl, London in 1951 is pure heaven. The audio quality is not as good but this is counterbalanced by the magnificent performance on stage and in the orchestral pit. Did someone ask Kna to speed things up?
Nietszche was right. It took him time to end up saying that after Tristan und Isolde, there was Parsifal. It is different. It may not be as excellent as Tristan, but it also has certain passages that reach some beauty. I like Parsifal, although not as much as I love Tristan. And the same I think Furtwrangler maybe holds the best Tristan conducting, Knaperbusch did a Masterwork with his Parsifal conducting. 💎❤️🆗👍🤗🙏
Parsifal and Tristan have roots in Ancient Iranian/Persian poetry. No doubt, the original authors took the characters from Zarathustrian texts after they had read them.
@silverbud What was said above, is perfectly true. I dare suggest you read, for instance, some Persian epic (Firdausi, Book of the Kings) or Goethe` paraphrases from poetry of Iranian Muslims (still under strong influence of Masdaism) rather than producing both agressive and unsubstantiated comments.
E' l'OPERA tra le opere (specie se concertata dal sommo H.K.): ogni volta che ci si immerge nel suo ascolto (e/o nel suo studio), se ne esce come tramutati.
THANK YOU AGAIN......and by the way if anyone thinks Iam a racist because I love WAgner.....good news ...you`re wrong ...BUT I AM A CULTURALIST.....I LOVE OUR WESTERN CIVILISATION WITH IT`S GREATEST TRIUMPH DEMOCRACY AND FREEDOM.......SO I THINK DID WAGNER....LOVE, LIGHT AND PEACE.....AND JOY TO ALL
He did indeed and spent his life working for a better world. Sadly, he is said to have played on the day of his death, for Cosima, the Rhinemaidens' lament that above, with the gods, is nothing but deceit, and that truth lies below with them, alone. Wagner is said to have remarked to Cosima how remarkable that he "knew it way back then." He did not succeed in changing the world, but he changed the lives of millions and continues to do so.
"Thus the work of art of the future shall embrace the spirit of free humanity beyond all barriers of nationality; the national essence in it may only be a decoration, a charm of individual variety, not an inhibitory barrier. " RW
shaughn fourie I also love our western heritage. I am a culturalist as well. I am fully aware of the richness of other cultures but I am raised and educated in the culture of the West. And I make no apologies for this.
The first hint of Parsifal I got from the movie EXCALIBUR in the age of 17. The movie was mediocre, but WHAT A MUSIC!!! And this was the first Parsifal-Recording I got hands on at that time. I was so fascinated! I locked myself up and listened to it many times, got totally mad on Wagner in my late teenage time. But now, 30 years later I can't help beeing heavily disturbed by tons of unperfection in this recording. Starting with the terrible woodwind intonation in the prelude, the complete ensemble mess at "Die Mähre taumelt", the musical line gets lost in Gurnemanz' narrations at some spots because it's so slow, the knight's chorus often an eighth note behind, and so on and so on. (I don't mind the caughing at all) Hotter and London are good, no question, and Amfortas Klage has really great impact, but in the end, this is not more than an interesting historical document, but far from being a recording of the century, admitted it's uncut & live. Maybe it's just that the demands in live performance have changed the last 50 years. No major opera house would nowadays dare to present it like this. I've just listened to Nagano's new Parsifal in Hamburg, which was terribly staged, but musically (almost) perfect.
YES Excalibur was a comic book for the big screen and used Wagner's music disastrously, but at least it introduced some to Wagner who might, otherwise,never have known him. So many people speak of this and and Siegfried;s Funeral March as the soundtrack to Excalibur. I crringe when I hear that.
To all of you , listen to the performance with Vickers and the swedish mezzosoprano Barbro Ericsson , still goning strong in her negive southwest Sweden by the sea.Congratulations to Frau Hofsängerin Barbro at 90 years of age.
Bonsoir, la version de Knappertsbusch de 1951 reste la référence absolue, supérieure aux versions de 62 et de 64 qui sont pourtant superbes. Il ne faut pas non plus oublier James Levine (Bayreuth 1985) et Karajan (1980).
Bonjour, j'ajoute à votre liste la version de Clemens Krauss (1953) qui vient selon nos comparaisons tout de suite après Knappertsbusch. La version 62 de Knap. est un aboutissement. Les choeurs, qui ont dans cette oeuvre un rôle de premier plan sont uniques ! La version 51 la dépasse dans la distribution vocale et je compte bien la publié sur cette chaîne. En résumé toute les versions de Knap restent ...mmm...un événement du disque gravé dans le marbre.
En tout cas Parsifal dirigé par Knap. restera toujours un pur moment de grâce. Au contraire des versions de Boulez qui sont de véritables désastres !!!
Je suis bien d' accord avec vous que les versions de Boulez sont un désastre, on se souvient également de son soi disant ring du siècle en 1976, où il prend des tempos bien trop rapides, sans parler de la mise en scène de Chéreau qui fut un désastre, (la porte ouverte à la dérive actuelle de la mise en scène). J' ai rencontré quelqu'un qui a eu la chance d' assister à la représentation de Parsifal de 1962 par Knapp à Bayreuth. Il parlait du
What a complicated figure Wagner was. Despite a life of questionable morals & racist rhetoric he composed this great humanistic statement. Some definitive performances here & I still prefer PARSIFAL to all of Wagner‘s other achievements although I have also a special personal affection for DER FLIEGENDE HOLLÄNDER. Nearly all of his other musical dramas have their moments for me but PARSIFAL remains unique. What, I wonder, motivated Wagner‘s nature to express the humanity in this great work.
Wilhelm Richard Wagner (1813-1883) Parsifal by Hans Knappertsbusch 1962
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Parsifal : Ein Bühnenweihfestpiel / A Sacred Festival Stage-play / Festival dramatique et sacré
*Click to activate the English subtitles for the presentation* (00:00-06:35)
Act 1
Vorspiel - Prélude (00:00)
He! Ho! Waldhüter Ihr (11:56)
Seht Dort, Die Wilde Reiterin (17:09)
Recht So! Habt Dank! Ein Wenig Rast! (20:24)
Nicht Dank! Haha! Was Wird Es Helfen? (26:42)
O Wunden-Wundervoller Heiliger Speer (34:50)
Titurel, Der Fromme Held (39:10)
Weh! Hoho! Auf! (50:29)
Nun Sag'! Nichts Weißt Du, Was Ich Dich Frage (58:20)
Vom Bade Kehrt Der König Heim (1:05:42)
Verwandlungsmusik - Transformation Music (1:07:53)
Nun Achte Wohl Und Lass Mich Seh’n (1:11:33)
Mein Sohn Amfortas, Bist Du Am Amt? (1:18:34)
Wehvolles Erbe, Dem Ich Verfallen (1:21:42)
Enthüllet Den Gral! (1:30:04)
Wein Und Brot Des Letzten Mahles (1:36:14)
Was Stehst Du Noch Da? (1:40:59)
Act 2
Vorspiel - Prélude...Die Zeit Ist Da (1:47:40)
Ach! Ach! Tiefe Nacht! (1:53:55)
Ho! Ihr Wächter! Ho! Ritter! (2:01:33)
Hier War Das Tosen! Hier, Hier! (2:05:03)
Komm, Holder Knabe! (2:09:54)
Parsifal! Weile! (2:15:29)
Dies Alles Hab'Ich Nun Getraumt? (2:18:30)
Ich Sah Das Kind An Seiner Mutter Brust! (2:21:38)
Wehe! Was Tat Ich? Wo War Ich? (2:27:07)
Amfortas! Die Wunde! (2:32:32)
Grausamer! Fuhlst Du Im Herzen (2:40:17)
Vergeh, Unseliges Weib (2:52:35)
Act 3
Vorspiel - Prélude (2:56:40)
Von Dorther Kam Das Stöhnen (3:01:18)
Heil Dir, Mein Gast! (3:09:10)
Heil Mir, Dass Ich Dich Wiederfinde! (3:15:21)
Zu Ihm, Des Tiefe Klagen (3:17:09)
O Herr! War Es Ein Fluch (3:19:49)
Nicht So!...Die Heil'Ge Quelle Selbst (3:26:40)
Parsifal Gesegnet Sei, Du Reiner, Durch Das Reine! (3:30:46)
Parsifal Karfreitagszauber (3:35:05)
Parsifal Du Siehst, Das Ist Nicht So (3:38:42)
Mittag...Die Stund' Ist Da…Verwandlungsmusik - Transformation Music (3:45:12)
Parsifal Geleiten Wir Im Bergenden Schrein (3:50:11)
Ja, Wehe! Wehe! Weh Über Mich! (3:54:25)
Nur Eine Waffe Taugt (4:01:31)
Parsifal Höchsten Heiles Wunder! (4:05:45)
Main actors / Acteurs principaux
Amfortas : George London
Titurel : Martti Talvela
Gurnemanz : Hans Hotter
Parsifal : Jess Thomas
Klingsor : Gustav Neidlinger
Kundry : Irene Dalis
Chor und Orchester der Bayreuther Festspiele
Chorus and Orchestra of the Bayreuth Festival
Chorus Master / Choreinstudierung : Wilhelm Pitz
Dirigent / Conductor : Hans Knappertsbusch
Live recording at the Bayreuth Festival in 1962
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
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Le festival scénique de l'Anneau du Nibelung, pour lequel Wagner fit construire le théâtre du festival, et le jeu scénique solennel de Parsifal, composé spécialement pour ce théâtre, sont les deux véritables ouvrages du festival et constituent le noyau du Festival de Bayreuth.Parsifal et son exigence inconditionnelle du spirituel dans l'art dramatique représente la tentative la plus radicale de Wagner pour donner une base humanitaire à son époque sécularisée et matérialiste. A l'égoïsme, garant du succès, il opposa l'idée humanitaire de la compassion et celle de l'action qui résulte de la prise de conscience de la responsabilité morale de l'homme.
Wagner a donné à Parsifal le titre de Bühnenweihfestspie/ (jeu scénique de célébration solennelle). Dans son acception poétique et artistique, ce terme de célébration a pour lui le sens d'une élévation de la conscience, passant d'un état ordinaire et trivial, à un degré supérieur et spirituel. Wagner sort le terme de sa sphère d’origine, où il avait un sens religieux et étroit, pour le transférer dans celle de l’humanisme absolu. Appliqué au domaine de la mise en scène théâtrale, ce terme n’était pas synonyme d'une action sacrée pour Wagner, mais exprimait plutôt une disposition d'esprit particulière, permettant d'atteindre un principe stylistique spécifique.
En aucun cas, Wagner entendait donner à ce terme le sens de "théâtre religieux" ni celui de "religion au théâtre". Il a toujours différencié strictement les deux aspects. La tâche du théâtre consiste à donner une représentation offrant au spectateur la possibilité de parvenir à une prise de conscience. La religion, en revanche, consiste à amener les hommes à la foi en annonçant ses vérités révélées. Tous deux, la religion et le théâtre, ont cependant un but commun, à savoir prendre soin de l'éducation éthique des hommes afin qu'ils comprennent le sens moral de l'ordre du monde.
La philosophie critique de Wagner repose sur la constatation que l'absence d'amour est le véritable mal du monde. C'est la compassion qui doit provoquer cette prise de conscience - l'amour compatissant pour autrui -, et c'est cet amour compatissant qui peut alléger les souffrances d'autrui. La compassion, telle que l'entend Wagner, repose sur la compréhension mutuelle et sur des relations sociales libres qui ne sont déterminées ni par le pouvoir et la domination, ni par l’esclavage.
Avec Parsifal, Wagner essaie de donner au théâtre lyrique de son temps, qui était voué au divertissement, une dignité et une force expressive comparables à celles du théâtre grec de l'antiquité. La Flûte enchantée de Mozart, avec son idéal éthique, et, dans le domaine symphonique, la Neuvième Symphonie de Beethoven, sont les derniers chefs-d’œuvre de cette chaîne traditionnelle européenne.
Selon Wagner, l'idée de rédemption appartient à toutes les grandes religions du monde. Pour lui, la signification de Parsifal réside dans le conflit entre le principe du Bien, représenté par le monde du Graal et son roi Titurel, et le principe du Mal, représenté par le sorcier Klingsor, qui s'efforce d'asseoir son propre pouvoir sur le Graal. Wagner utilise un modèle dramatique employé dans les moralités du moyen-âge et du baroque, qui associaient à la lutte entre le Bien et le Mal celle de la Vertu et du Vice. Le combat est rendu exemplaire à travers la rencontre du héros avec une belle femme séduisante à laquelle il doit résister s'il veut acquérir la conscience du Bien et de la Vertu.
Ce modèle iconographique des moralités s'inscrit également dans les décors. D'un côté le château chrétien du Graal, situé dans un endroit difficile d'accès au nord de l'Espagne gothique, de l'autre le jardin enchanté de Klingsor, avec sa végétation tropicale, situé au versant sud de la montagne, tourné vers l'Espagne chaude, païenne et arabe. La nature innocente et libre, la forêt du Graal et le pré du Vendredi saint sont placés en dehors des pôles opposés du bien et du mal. Depuis l'époque romantique, la Nature et le paysage ont toujours été considérés comme l'une des formes par lesquelles se révélait le divin. Cette donnée apparaît également dans la scène où les fleurs du jardin enchanté, après avoir adressé à Parsifal un sourire plein de séduction pour se faner aussitôt après, sont finalement délivrés du mal sur le pré du Vendredi saint.
Parsifal est aussi le roman de l'éducation du héros éponyme. Au début, il est le "chaste fol" (Der reine Tor), tout en étant aussi un être niais à la démarche chancelante. Il n'est pas encore conscient. Il obtient cette conscience en embrassant Kundry, car son baiser fait de lui un être "clairvoyant au monde" et sa propre expérience de la souffrance le rend capable de compassion. Il doit marcher "sur le sentier de l'égarement et de la souffrance" jusqu'à ce qu'il trouve le chemin du Graal et qu'il puisse apporter la rédemption, par ses accents de compassion, à Kundry, Amfortas et au monde du Graal.
Le personnage de Kundry est certainement l'une des créations majeures de Wagner. Il n'eut une vision claire du sujet qu'après avoir compris que la messagère sauvage du Graal et la séductrice du deuxième acte n'étaient qu'une seule et même personne. En raison de sa malédiction - sans pitié, elle s'était moqué du Christ souffrant -- Kundry doit subir les souffrances de toute l'humanité, tout comme Ahasver, le juif errant. Elle exprime ses sentiments par l'affliction sauvage et la raillerie. Elle est sans nom parce qu'elle a tous les noms: Rose d'enfer, Hérodias, Gundryggia. Quoiqu'elle ait promis à Parsifal la "divinité" et le "savoir", tout comme le serpent du Paradis, celui-ci lui résiste et la délivre ainsi de sa malédiction. Il compatit avec elle et procède à son baptême. Kundry n'est pas vouée à la damnation éternelle comme les diablesses des moralités. Elle entre au Graal, réconciliant ainsi le principe de l'éternel féminin qu'elle symbolise.
Wagner - Parsifal Opera (recording of the Century : Hans Knappertsbusch 1951) ua-cam.com/video/EWXNUADhMzo/v-deo.html
Richard Wagner PLAYLIST (reference recordings) ua-cam.com/video/gGAKgoclJ6A/v-deo.htmlbit.ly/3K75vu
Thank you so much 😊
Classical Music/ /Reference Recording thank you!
Great recording of one of the world's artistic Masterpieces, a musical equivalent of the SistineChapel or Köln Cathedral. This shows that spirituality does not need a religious credo to be eternal. The feelings felt and expressed are universal and timeless. This and the 1951 recording are two of the earliest recordings I bought more than 50 years ago. Never tired of listening to eternity.
Yes yes eternity❤
Spirituality doesn't have much meaning if there is no other content than some vague feelings. Wagner himself had a very definite 'credo' which goes back to Schopenhauer.
Tatsächlich eins der schönsten Stücke die ich je gehört habe. Danke für diese Musik. Diese ist für die Ewigkeit. Peter Mannheim 😊😊😊
This is not music. This is another dimension altogether. And Knappertsbusch 1962 is the greatest recording of it I know. Thank you for uploading this jewel.
Parsifal es como un puente de cristal entre esta y la otra dimensión, que se rompe tras cada paso que damos sobre él y nos deja, para siempre, vagando en un abismo de fantasía....
Do you know Knappertsbusch 1951, 1952, 1954, 1963?
@@brunegilda2453 may i know your opnion, which one do you consider as the best Mr.Gilda?
Have you heard the Kubelik recording?
Can you be anymore pretentious? So annoying. It IS after all, a type of music.
The ending of Act I is one of the most beautiful things I've heard.
That is also my favorite part.
You are so generous
Thank you for your unselfishness and willing to share your collection
Many Thanks from Hong Kong
+洪昇 谢谢。from Paris
洪昇 yes. Thank you very much. The best on YT, a mon avis.
I was 15 yrs old when this was released on LP. I saved my weekly allowance to buy it. It sold for about $45 but I had to have it. It was on 5 LPs. Ive loved Parsifal ever since and finally saw it in Bayreuth in 2018. It's my favorite music drama.
IT IS SUBLIME thank you for telling us your IMPORTANT story I LOVE WAGNER and KNAPPERTSBUSCH is a true honest interpreter as far as I can feel
Nice cast! Great orchestration. There are some great Wagner singers now days as well as conductors. What I can't deal with are these ridiculous productions. Leave Wagner alone. I would love to see a classic production of this opera. This musical drama, the only one that actually moved me to tears when I first heard and comprehended the story. Thank you for putting this up for everyone to enjoy.
Yes, certainly, a lovely performance but what strikes me is what great sound! Big, full, clear, with a wide stereo image, tremendous job by the recording engineers.
YES
....A gem in my collection....
....a cast of awesome quality. The great „Kna“ has icons of musical artists under his baton. The time when applauding after the first act was impossible......Wagners most sacred music. Heard it live in Bayreuth and New York in the seventies and I will never forget it. George London is Amfortas for the Universe...
RDS
En 2008 j'ai eu le privilège de vivre cette expérience unique, assister à la représentation de Parsifal dans le temple de Wagner, grande émotion!
Irene Dalis is just wonderful in this recording. No comparison to modern recordings of the piece. Her control, timbre and especially great use of low register make me come back to this recoding over and over
Special Universe I totally agree with you! She was a singer I never heard of, when I googled her, I realised that she passed away!
Yes! She was also the first American to sing the role at Bayreuth. Cheers.
I agree ! The best recording of Parsifal . I have the original Lp set that my father bought in 1965. Still play it .
Just listen to the 1951 cast. In my opinion unsurpassable.
1:29:07 - so beautiful... reminds me of Mahler 2. Wagners choral composition style is definitely where he drew inspiration from.
Thank you for sharing this marvelous recording. You are a very fine person! I look forward to listening to all that you have shared. :)
:-)
Knappertsbusch applies his artistic intent to this latent content with greater efficacy and clarity than almost any other conductor of this supreme artistic feat--a true "Recording of the Century"! I also very much appreciate your commentary that accompanies the prelude; it concisely outlines Wagner's rational behind "Parsifal" and contextualises its role both within Wagner's own social context and that of the broader European tradition that he both applied and shaped (in an artistic approach that is clearly articulated at the conclusion of "Die Meistersinger von Nürnberg").
Music of supernatural power and majesty, written by Wagner and conducted by the incomparable Knappertsbusch.
what gift !
the opera and the synopsis
thank so much for this masterpiece a reference in the music world
listen and listen 🎶💕
The best recording of the last and best of Wagner's opera. I wish I could see some still pictures of this Bayreuth performance.
Wagner is the greatest creator of art of them all
That's too much...but one of them, yes
No Beethoven he was blind and deaf and still created masterpieces Wagner could not do such a feat
Beethoven was the greatest creator of art. Wagner, Brahms, Mozart, Verdi, and Puccini were also great. But Beethoven was the greatest.
@@SymphonyBrahms I read this argumentation while listening to this extraterrestrial sound, and I wander:who cares who is the greatest?
(Let alone that you did not mention Bach). It is very wrong to compare the greats: in any case they were all playing in a different “ball game”.
And even if say Schubert is not in your list: I still have to listen to Fantasia in F minor for four hands EVERY DAY (and more than once)!
So is it composing dexterity that makes one great? Or, is it the ability to touch people*s souls and make them experience rare emotions?
I would say … all three!!!
@@panossolo909 Those "greatest" lists are forsports fans. The fact that THIS opera is great cannot be questioned. It is my favorite opera, even above all other Wagner operas. That's enough for me.
I too have this old recording in my collection. - and I agree - it is beautiful
thank you . I love classical music, specially Wagner and Parsifal is the the best for me.
I used to have this Recording on LP. I cried many times hearing this out of this world music...
I always wondered what kind of feelings Wagner had when he wrote it...?
on Wikipedia it says that the underlying theme for this Opera was Wagner's racialist views, particularly his fear of the demise of Western civilization due to the possibility of miscegenation and of the mixing of "superior" and "inferior" races...
@@africanfromafrica This opera is a mixture of Christian elements with others of a Gnostic nature. To claim that musical drama expresses Wagner's racist ideas is to reduce the content of the work to mere propaganda that disregards the symbolic aspects elaborated by the composer. It's always important to remember: much of Wikipedia's content is just bullshit.
@@africanfromafrica I believe that the sentiments underlying Parsifal are both dark and light; shadow and enlightenment. Wagner was a complex figure and allowing for his ardent anti-Semitism, I've come to accept that evil and goodness exist together in all of us. The trick is to acknowledge both and choose to act on the goodness. As one Jewish women once said about Wagner: " I refuse to believe that anyone who wrote music like this wasn't divinely inspired." As a person of color, I couldn't enjoy this music without appreciating that reality; without holding the tension of good and evil in each of us, I would be forced to reject the world.
@@stillstanding6031 well since you are a person of colour, and enjoy this piece, I suppose that absolves the situation,
@@leonardorodrigues6745 you are right, I am better off relying on the opinion of experts commenting on UA-cam. My mistake
1:47:41 Act 2
2:56:43 Act 3
One of if not the greatest recordings of Parsifal of all time.
Oh how I LOVE WAGNER and THIS IS THE MOST UTTERLY BEAUTIFIUL VERSION
How can people possibly vote this with a thumb down? I am speechless...
…Southern Hemisphere perhaps…;)No rational reason thinkable. RDS
Great!!
What a sound!!
What a music!!
What an LP!!
I can't say more than what's already been said about the artistry of this amazing performance...I've listened to it so many times, but I can't find any other performance that compares...even Karajan's!
I think live version of 1951 is the best Kna's Parsifal. That's an opinion, based in the tenor and the final choir. This version is great, indeed.
I do agree. 1952 and 1954 ( Kna and Windgassen ) as well.
George London is better in ‘51 as well.
I agree. The cast of 1951 is unbeatable and Kna's slower tempi then much better suited the whole concept.
@@ransomcoates546 totally agree' London was at his finest then.
I actually prefer Jess Thomas here. Windgassen's voice just doesn't work for me.
Una de las mayores creaciones artísticas de la historia.
A pesar de que escucho una y otra vez el fragmento Titurel der Fromme Held, sigo sin dejar de sentirme elevado por esa música extraordinaria, parece que su encanto es una fuente inagotable... una maravilla...
Good version.Thank you for uploading. Recording of the Century: Karajan - Kurt Moll,Peter Hofman,...
I have a Met recording with Moll, Jerusalem, and Meier - simply stunning. I always sit down to listen to it at Easter.
@@hans-juergenkirstein3962 Fabulous cast ruined by Levine's conducting.
Música divinamente inspirada, es la entrada al Paraiso. Muchas gracias!!!!!
Hi I love your music
all of kna's recordings of parsifal are wonderful
His 1951 performances take some beating. He had the greatest cast then too.
from that place, "where time turns into space"
a big merci. for everything.
:-)
@Vishnujana Dasa From my reading, Wagner was a nervous wreck bringing Parsifal to completion. He was housed in Venice at a palazzo at that time (which I saw back in the 70s when I visited the city) surrounded by rose petals, soft silk fabrics and a doting Cosima. Wagner suffered from heart trouble and was able to complete the scoring in January 1862 (he died in February 1883 of a massive heart attack, but lived long enough to see it performed at Bayreuth). Wagner finished Parsifal practically with his last breath. It was a final, and in my estimation, his finest musical creation. Of cosmic origins.
Correction: He completed the scoring in "1882".
Even the original non stereo cd set is my choice. This is still the ultimate Parsifal
I have the mono Lp set. I wouldn’t trade it for anything . ❤️ it .
It's definitely a great recording, although Boulez is my favourite.
@@niccolonannucci3977 Wielands favorite.
Thanks. Arguably the greatest "live" recording made at Bayreuth. And I believe Irene Dalis was the first American to sing the role of Kundry. Cheers.
:-)
An ardent Parsifal fan since the 60s, I know that Wagner completed it with everything he had left to give. He summoned his immense creative resources at a time when his corpus was failing. The result? One of our greatest works of art; a final offering for redemption by an artist seeking forgiveness. Well done!
forse il Parsifal più bello che conosco .davvero superbo! !
Certamente uno dei più belli. Kna aveva qualcosa di speciale in qualunque caso, ma il Parsifal lo aveva nelle vene. Splendido suono wui, nel '62, ed altrettanto splendidi cantanti (impossibili da trovare oggigiorno).
MA CHE BELLEZZA, MAMA MIA !!!!!!! GRAZIE MILLE !!!!!!!
Estupenda versión para una ópera gloriosa.
También la versión de Karajan con Moll, Hoffmann, Van Dam.
Hans Hotter's performance here will likely never be bettered.
In my opinion i have to say that Ludwig Weber in 1951 set a standard for Gurnemanz that has yet to be equalled never mind bettered. Hotter is good but Weber was on a different level.
Greindl is the best Gurnemanz for me.
@@BritinIsrael You're absolutely right!
Ah, lovely stereo recording. The top results for Parsifal here are cruddy quality
things done changed
Thank you. Too kind.
For the combination of sound quality and inspiration and characterization this recording is the standard, though I could name half a dozen other essentials.
Yes! the recorded acoustical ambiance plus the "vocal instruments" of these principal singers (esp London Hotter & Neidlinger -- 3 distinct baritonal timbres each perfect for their role) plus the inspired performance of all involved (honorable mention to the chorus) make this THE Parsifal of all time.
@@user-bc9mn7gq2c Wilhelm Pitz was conducting the chorus, right?
@@ilirllukaci5345 Quite right! Also some famous singers did small parts: Gundula Janowitz and Anja Silja were Blumenmaedchen and Gerhard Stolze was one of the Knappen.
Thank you from Meadville Pa.USA !
3:55:15, Gebet des Amfortas, "Mein Vater!"
3:48:09
you here?
Absolutamente la gloria muchas gracias
thank you, very much... the state of the art...
The audio quality is wonderful considering the age of the recording. This performance is about 25 minutes faster than Kna's 1951 absolutely mind blowing Bayreuth performances with one of the best cast of soloists ever assembled. The cast on this recording are very good but the combination of Windgassen, Weber, Modl, London in 1951 is pure heaven. The audio quality is not as good but this is counterbalanced by the magnificent performance on stage and in the orchestral pit. Did someone ask Kna to speed things up?
1951 is too slow
wouaw 4 hours of pleasure thanks wagner best recording
Happy Easter!
Happy Easter to you too!
Diese Version ist der Hammer.
Ok, but which version nailed it?!
Nietszche was right. It took him time to end up saying that after Tristan und Isolde, there was Parsifal. It is different. It may not be as excellent as Tristan, but it also has certain passages that reach some beauty. I like Parsifal, although not as much as I love Tristan. And the same I think Furtwrangler maybe holds the best Tristan conducting, Knaperbusch did a Masterwork with his Parsifal conducting. 💎❤️🆗👍🤗🙏
I absolutely agree with you, Furwängler is the best conductor of Tristan ever...
After hearing those last 9 minutes of Act III, what else can you do but cry???
Parsifal and Tristan have roots in Ancient Iranian/Persian poetry. No doubt, the original authors took the characters from Zarathustrian texts after they had read them.
@silverbud What was said above, is perfectly true. I dare suggest you read, for instance, some Persian epic (Firdausi, Book of the Kings) or Goethe` paraphrases from poetry of Iranian Muslims (still under strong influence of Masdaism) rather than producing both agressive and unsubstantiated comments.
@silverbud Wolfram von Eschenbach disagrees....
@@JoseAntonio-pk2nq as does chretien de troyes
una inmejorable selección de Wagner. Gracias,.
opera stupenda racchiude tutta l immensità dell universo avevo il disco
OMG ... Heaven!
E' l'OPERA tra le opere (specie se concertata dal sommo H.K.): ogni volta che ci si immerge nel suo ascolto (e/o nel suo studio), se ne esce come tramutati.
It still works for me 50 years later.
2:42:32 is really epic and brillant.
The Beauty of Richard Wagner's Opera , Parsifal,a Story of The Grail the Fullness of Life,🎶🎶🙏⭐⭐@ Classical Music/Reference,10.30am✨✨⭐🎶
(Cough, cough) Makes me feel (cough, cough, cough) in home. (Cough!) In a concert in Madrid. (Cough, cough, cough). :)
Where was it recorded? In a lung cancer ward?
THANK YOU AGAIN......and by the way if anyone thinks Iam a racist because I love WAgner.....good news ...you`re wrong ...BUT I AM A CULTURALIST.....I LOVE OUR WESTERN CIVILISATION WITH IT`S GREATEST TRIUMPH DEMOCRACY AND FREEDOM.......SO I THINK DID WAGNER....LOVE, LIGHT AND PEACE.....AND JOY TO ALL
He did indeed and spent his life working for a better world. Sadly, he is said to have played on the day of his death, for Cosima, the Rhinemaidens' lament that above, with the gods, is nothing but deceit, and that truth lies below with them, alone. Wagner is said to have remarked to Cosima how remarkable that he "knew it way back then." He did not succeed in changing the world, but he changed the lives of millions and continues to do so.
While I love Wagner's music as well, "culturalist" is nothing but a code for racist that fools nobody.
"Thus the work of art of the future shall embrace the spirit of free humanity beyond all barriers of nationality; the national essence in it may only be a decoration, a charm of individual variety, not an inhibitory barrier. " RW
shaughn fourie I also love our western heritage. I am a culturalist as well. I am fully aware of the richness of other cultures but I am raised and educated in the culture of the West. And I make no apologies for this.
Thank you 😊
1:34:22 : Majestic and splendid !
The first hint of Parsifal I got from the movie EXCALIBUR in the age of 17. The movie was mediocre, but WHAT A MUSIC!!! And this was the first Parsifal-Recording I got hands on at that time. I was so fascinated! I locked myself up and listened to it many times, got totally mad on Wagner in my late teenage time.
But now, 30 years later I can't help beeing heavily disturbed by tons of unperfection in this recording. Starting with the terrible woodwind intonation in the prelude, the complete ensemble mess at "Die Mähre taumelt", the musical line gets lost in Gurnemanz' narrations at some spots because it's so slow, the knight's chorus often an eighth note behind, and so on and so on. (I don't mind the caughing at all)
Hotter and London are good, no question, and Amfortas Klage has really great impact, but in the end, this is not more than an interesting historical document, but far from being a recording of the century, admitted it's uncut & live.
Maybe it's just that the demands in live performance have changed the last 50 years. No major opera house would nowadays dare to present it like this. I've just listened to Nagano's new Parsifal in Hamburg, which was terribly staged, but musically (almost) perfect.
Talk about missing the forest for the trees...
YES Excalibur was a comic book for the big screen and used Wagner's music disastrously, but at least it introduced some to Wagner who might, otherwise,never have known him. So many people speak of this and and Siegfried;s Funeral March as the soundtrack to Excalibur. I crringe when I hear that.
Ah yes. Knappertsbusch can't hold a candle to that Wagnerian genius Kent Nagano. /s
這是此曲最好的唱片！上世紀60 年代的現場錄音！現在再也聽不見了！因為他們全部上天了！
To all of you , listen to the performance with Vickers and the swedish mezzosoprano Barbro Ericsson , still goning strong in her negive southwest Sweden by the sea.Congratulations to Frau Hofsängerin Barbro at 90 years of age.
3:07:00 Oh hi Wotan, fancy meeting you here
Think Knappetrbusch rendition is the best there's about the Wagner work. Though found Solti's an impressive one, can't help but telling. 🙄😳😔🙏
I feel overwelmed.tp.find so much good music.on my AP
visit our channel, the music is very good :-)
His music is divine❤
Superbe, splendide, hors de ce monde-ci, merci beaucoup!
:-)
The finale is incredibly beautiful. I like Karajan and Solti, but Knappertsbusch is the greatest conductor of Parsifal.
True, the choir is so powerful in the end
What beautiful Sonority !
Un bouleversement total!
Merci krikri de m'avoir fait découvrir cette véritable perle de la musique savante... :)
1:07:53
1:17:14
1:29:00
4:05:45
Sublime.
Thank you
Would you make this available at Spotify please?
Thanks!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
une merveille à écouter
Danke !!!
DANKE
Bonsoir, la version de Knappertsbusch de 1951 reste la référence absolue, supérieure aux versions de 62 et de 64 qui sont pourtant superbes. Il ne faut pas non plus oublier James Levine (Bayreuth 1985) et Karajan (1980).
Bonjour, j'ajoute à votre liste la version de Clemens Krauss (1953) qui vient selon nos comparaisons tout de suite après Knappertsbusch. La version 62 de Knap. est un aboutissement. Les choeurs, qui ont dans cette oeuvre un rôle de premier plan sont uniques ! La version 51 la dépasse dans la distribution vocale et je compte bien la publié sur cette chaîne. En résumé toute les versions de Knap restent ...mmm...un événement du disque gravé dans le marbre.
En tout cas Parsifal dirigé par Knap. restera toujours un pur moment de grâce. Au contraire des versions de Boulez qui sont de véritables désastres !!!
en effet.
Je suis bien d' accord avec vous que les versions de Boulez sont un désastre, on se souvient également de son soi disant ring du siècle en 1976, où il prend des tempos bien trop rapides, sans parler de la mise en scène de Chéreau qui fut un désastre, (la porte ouverte à la dérive actuelle de la mise en scène). J' ai rencontré quelqu'un qui a eu la chance d' assister à la représentation de Parsifal de 1962 par Knapp à Bayreuth. Il parlait du
Wagner - Parsifal Opera (recording of the Century : Hans Knappertsbusch 1951)
ua-cam.com/video/EWXNUADhMzo/v-deo.html
What a complicated figure Wagner was. Despite a life of questionable morals & racist rhetoric he composed this great humanistic statement. Some definitive performances here & I still prefer PARSIFAL to all of Wagner‘s other achievements although I have also a special personal affection for DER FLIEGENDE HOLLÄNDER. Nearly all of his other musical dramas have their moments for me but PARSIFAL remains unique. What, I wonder, motivated Wagner‘s nature to express the humanity in this great work.
BEAUTIFUL DANKE
Premiered on this day (26 July) in 1882 at Bayreuth 🌹🌹🌹
something's wrong with the recording of the horns at 7:05-7:10
It must have been on the master tapes. I bought this as an LP set 40 years ago and the distortion was present even then.
I look forward to listen to this (SLOW) performance, although I hear that Toscanini.was.the longest Parsifal ever, at 4h48❤
Semplicemente Divino
bin zuruck wieder vielen dank
Knappertbusch the wagnerian for excellence!!!!
I TOTALLY LOVED WAGNER
LOVE ....NOT LOVED
shaughn fourie me too. The more I listen to Wagner, the deeper my appreciation becomes. The richness seems infinite to me.
R.Wagner usta işi bitirmiş ... Bu iş bu kadar olur... " PARSİFAL TAM BİR KLASİK ..."
This is best on CD; followd by Solti,Jordan.Solti has the Vienna Boys Choir,they excel in the Choral Conclusion.
Karajan??
@@vincentlombardo9797 karajan's cast is awful
@@johnholmes912 Really? Moll and Van Dam??????????
Kna 1951, 1952, 1954, 1963.
I can't get the subtitles to appear..