@@TwinsunianT Thank you so much! I think this is the most important recording of this masterpiece, not only for the beauty itself but for the cast that interprets it, especially Hans Sotin
My father died last week, and he loved this opera and Wagner in general. How a first-born son who should have been a farmer in Iowa decides he's going to leave home, marry a Polish woman he met in Paris, become a French professor and an opera fanatic is beyond me, but he did. He was soooo different from the other dads in Oklahoma, but now I appreciate him enormously. Thank god he spent one week alone in NYC at the Met attending a Wagner marathon. It was the only time he spent money on himself. His mother sat on millions in farmland and didn't cash out, leaving it for six kids. My parents died within one year of each other and never got to spend that inheritance on anything "fun." So I am going to live the fudge out of my life in their honor. I'm not worthy of it, but life isn't fair. Who knows, I may not have long either. One never knows. I love you, Daddy (and Mommy, who attended all the operas except for the 6 hour ones...) Be good to your "annoying," "boring," and "weird" parents who are frugal and responsible.
Quintessence -- Same here: Dad from Poltava-Harbin-Paris Sorbonne. Successful chemist-inventor. Now I'm 75...ended up happy in San Agustinillo, Oaxaca! You?
Keep coming back here, so I'm just gonna make this list. My favorite moments: 1:56 Prelude 13:32 The squire's prayer 21:14 Amfortas' dream 26:13 Amofrtas' gratitude 37:02 Gurnemanz talks about the legend of Titurel 48:01 Gurnemanz scolds Parsifal and talks about the swan 59:43 Gurnemanz invites Parsifal to the Grail rite* 1:01:30 Verwandlungsmusik (Transformation music)* 1:05:58 The entrance of the knights* 1:12:29 Amofrtas cries out for forgiveness 1:30:20 Communion* 1:58:38 Flower maidens try to seduce Parsifal 2:03:41 Kundry reminds Parsifal of his name 2:41:28 Parsifal takes the holy spear from Klingsor 2:44:26 Act III Prelude 2:49:43 Gurnemanz discovers and wakes Kundry* 2:54:40 Love this short part in the orchestra 3:01:12 + 3:05:40 Gurnemanz recognizes the holy spear 3:17:50 Good Friday Spell* 3:19:32 Parsifal baptizes Kundry 3:26:06 Don't have words, this is too beautiful...* 3:33:33 Titurel's funeral march* 3:44:08 Parsifal heals Amfortas with the spear 3:47:36 Finale*
@@omairagamboa7821 es la música más hermosa sin duda, es lo mejor que he oído en mi vida yo creo, en cuanto a mis gustos personales al menos. De parsifal el viernes santo y el interludio es lo más hermoso, lo amo tanto, para mi es sagrada esta obra, daría mi vida por ella.
How a human being could create music like this will always remain a miracle for me ! It takes you like in a rush , opening a completely new world in your mind...
What a ridiculous and pointless statement to make! All over UA-cam I read declarations that here is the finest pianist and there we have the most wonderful symphony etc. Why impose your estimation on others. Parsifal is boring to me, and Wagner was such a vile, profligate egomaniac that his music cannot be moving.
From a musicians family I knew from it quite early in my life, but it all was nothing compared to sitting in the Bayreuth Festival opera myself listening to it when I was just 18 ----- the acoustics there is just breathtakingly amazing -- the best in the world for Wagners music for sure --- better than the best Multi-billion high-end system would ever be. it moves you like a tremendous avalanche indeed !!!
It's Wagner's last and least well known. Wagner's other operas contain plots with characters who act out extraordinary, yet human deeds. IMHO, Wagner's other operas contain plots and characters who act out extraordinary, yet human deeds. Parsifal is Wagner's murkiest work, full of mysteries and Christian symbolism and rites- the knights of the holy grail, the spear that pierced Christ's side. Non-Christian stuff as well, magic spells, murdered swans, a holy fool "made wise through compassion". A witch who does good deeds out of compassion for the the knights and their king yet claims she does no good and helps nobody. You're not the only one who arrives late for the feast.
I'm new to Parsifal, but I've come back to this particular production more than a dozen times and listened to it in its entirety. The ever-turning shadings of this music so often bruise the heart but even so, there is pleasure in the heart having been seen, recognized, and transcribed.
This is the best, most mystical and profoundly touching music human ear can hear. I my life I had the honor of seeing Parsifal live and despite the fact that staging was mediocre at best, it was an experience that will be forever imprinted in me. No words can describe the final angelic voice coming from the top of opera house.
I had the same experience. When I was maybe 8 years my father took me to a Parsifal production in the opera house of Antwerp. It must have been at best a mediocre version but I am till now 50 years later captivated by the story and the music. I made a piano transcription of the most memorable moments from the orchestral score. The meaning of the story applies to...well, almost anything, everywhere and allways. Yes I heard about the postmodern BS version that was staged recently in the same opera house in Antwerp. I didn't see it.
@@daniel3231995 What, you "like" Wagner and you don't even know that Parsifal is based on Percival, the knight if King Arthur and the quest for the Holy Grail? That even without knowing that, you're too fucking plank to follow a story that's even simpler than a normal movie for 30 minutes? Then you don't have the presence of mind to learn to read or, look it up or anything, you just come in here and call the really simple story "heavy", that you have the concentration-span of a gnat and don't know what the fuck is going on? What laughing stocks you all are.
Perfect viewing for a Good Friday, on which I'm watching this (4/7/2023). What a glorious performance. Sometimes the older performances (this one from 1981, for example) of great operas are where many gems can be found. Thanks for posting this. 🌹 💃 🎹🙂
A few years ago i took three tabs of acid and watched this as my high kicked in. Needless to say it was easily the best night of my life, Wagner's brilliance in music gave me such a profound spiritual experience, i was able to feel the mysticism of this production on a deeper level, since that night, Wagner's music of any kind touches the very depths of my soul.
I was totally bummed after watching a train wreck Parsifal by the Dutch, and then next day, THIS pops up and all is right with the world. And with HORST STEIN, our beloved and unique director in Hamburg! And with many of the same voices I heard there in '81-'82 while singing in the "Sonderchor" for that production. Oh, the memories! Thank you, thank you, thank you!!!
this was the awesome version I heard played on BBC Radio 3 on Good Friday 1987. Wonderful to re discover it and actually be able to watch it on the big tv screen - although my wife has now walked out and hidden in the kitchen.
There are so many great moments but around 2:30:54 I get goosebumps. Extraordinary harmonies and such gorgeous music intertwined with such pathos and deep philosophical meaning. Thank you Herr Wagner
How much I appreciate the classical staging of the operas! The singers are fantastic, but also they have the "physique du role" and the staging only helps us to understand what wanted Wagner communicate? Back to the roots of the Theater, and thank you so much for positing that, You are great Twinsunian.
I appreciate a Wagner opera that is well done in the classic style. In general, while there are some regietheaters that are interesting, many of them tend to shock just for the sake of novelty instead of because they have something of weight to say. The Met Opera 2013 regietheater Girard staging of Parsifal was one that was done very well and that left an impact on the audience as to the meaning of the symbolism that is at work in Wagner's opera. But for every regietheater that is a success there are many that bomb. I much prefer it when modern technology is put to use to make a traditional telling excellent. Projecting backgrounds to set a mood or to visualize something that would be too expensive to build as a set when doing the Ring is a great example of making a great opera even better. I can think of others such as using laser lighting effects on stage (kupfer did this to excellent effect), using dry ice fog machines, etc. Many creative things can be done within the parameters of a traditional staging to make it come alive. The Holy Grail as a visible 3d hologram floating in the air when it first appears is one thing that would be great.
Amazing... In act two when Klingsor summons Kundry and she appears suddenly is just chilling... I literally startled and my heart almost stopped! Loved the first act so far... Amazing production!
"Du, Kundry?" and so on... 26:13 Amfortas' gratitude towards Kundry may be one of my (many) favorite moments of Parsifal, even though its just a small part of the opera.
I agree, it’s a small but beautiful melody. I have sung Kundry and could not enjoy it too much, as I had to concentrate and cut in suddenly with my jarring lines 😂
Love Leif Roar, here as Klingsor! His Amfortas was wonderful too (heard it live more than once) and he was a wonderful Holländer. Amazing voice and amazing stage presence.
Nice production. The Goldilocks tempi are are delightful. In fact, reminiscant of Kna's tempi. I've loved this opera for over 60 years. I return to it again and again, like a fountain, to be renewed and refreshed. Wagner saved the very best for last.
... eine aufs Wesentliche konzentrierte mustergültige Inszenierung, mit besten Solisten; vom unvergessenen bedeutenden Horst Stein, einem der großen Bayreuther Dirigenten, mit Herzblut interpretiert.
Hermoso Parsifal. Detesto la ópera clásica con vestidos modernos...Claro que esta escenografía es más moderada en ese sentido y está hermosa realmente, comparada con otros bodrios que se ven cada rato en los grandes teatros de Europa por ejemplo en Baireuth...
fantastique et transcendant. Belle interprétation, qui nous fait vivre les questions de l'erreur (pas la faute) sévèrement punie et de la rédemption, pour Amfortas et pour Kundry . Tout le monde peut chuter pour avoir baissé sa garde un instant. La lumière et la foi (en quelque chose, pas seulement en la divinité) peut nous ramener dans la voie juste
My 'go-to' version at the moment - enjoying at Easter - thank you so much for putting on youtube - Parsifal is like a warm bath of spirituality and I feel very much cleansed from experiencing it.
Je viens juste de commencer et ne connais encore rien de cette émission, mais le fait que Siegfried Jérusalem chante Parsifal, me dit tout, ce sera une émission superbe. Et j'ai eu raison, merci pour ce Parsifal et son compositeur. Quel chef d'oeuvre!!
Amfortas:Bernd Weikl Titurel: Matti Salminen Gurnemanz: Hans Sotin Parsifal: Siegfried Jerusalem Klingsor: Leif Roar Kundry: Eva Randová 1st Knight of the Grail: Toni Krämer 2nd Knight of the Grail: Heinz Klaus Ecker 1st Squire: Marga Schiml 2nd Squire: Hanna Schwarz 3rd Squire: Helmut Pampuch 4th Squire: Martin Egel Flower Maidens: Norma Sharp, Carol Richardson, Hanna Schwarz, Mari-Anne Häggender, Marga Schiml, Margit Neubauer Alto Solo: Hanna Schwarz
Listening to this on Good Friday 2020 when, blessed by the consequences of a necessary virus, for the first time in my long life I see hope for mankind, the hope which is promised in this opera. Nature rejuvenated, cursed international communism and international capitalism evil twins of hell, banished to the shadows , oh I hope..
I agree with Claude Debussy who thought the characters and plot ludicrous, but nevertheless in 1903 wrote that musically it was "[i]ncomparable and bewildering, splendid and strong. "Parsifal" is one of the loveliest monuments of sound ever raised to the serene glory of music." He knew what he was saying.
This is Wagner's greatest work which must be read together with the "Ring". The "Ring" is a gigantic metaphor of our times: Kali-Yuga/Ragnaroeck/Iron Age which is happening right NOW. Irremediably lost and irreversible, for Nothung the sword was re-forged, but then Siegfried was abandonned by an absent Wotan (who in 'Goetterdaemmerung' only shows up in the orchestra). "Parsifal", on the contrary, announces a nascent Golden Age whose birth throes we are presently undergoing. A New Avatar is to be born. Wotan's broken Spear shall be recovered and made whole again; it had become too heavy with Treaty Runes. Now, the Grail will reunite with a new Spear/Pact and the Earth's Axis will be made straight once again, just as the Speer shown in Act III Klingsor-Satan-Yahweh will disolve: the Ram and Fish redeemed by the Acquarian Archetype... This is the best version I've seen so far. (by the way, I was lucky to hear Horst Stein direct "Tristan" in 1971 in my native Buenos Aires: Birgit Nielsen and Jon Vickers sang T&I)... Coming back to "Parsifal" this is Wagner's only open-ended work. The Urauffürung was in Bayreauth in July 1882 and the Master left us in February 1883. Anyway, He's still with us ever since. He prophetized the History of the World after his time. The last Chapter of which has by no means been acted out yet. Wagner and those who understood and followed him in the 20th Century shall be proven right... - Adrian Salbuchi (arsalbuchi@gmail.com)
BRAVO! YOU SEE! The drama of redemption lies in Parsifals rejection of Kundry, who symbolizes earth bound sensuality. All others fall prey to her CHARMS. Reminds me of Faust's posthumous declaration, " Hard to save whom lust bespake, weak before his fire, who in single strength can break, chains of dark desire? So the foot will swiftly slip, on the slant way gliding, heart the fool of eye and lip, in soft words confiding. "
@@paulybarr Good question Paul. It is an age old problem. A spiritual ATTITUDE must resist the DOWNWARD tendency of the Souls INCLINATION to body bound desires, or DESIRES OF THE FLESH. AS THE BUDDHA case has shown, NEGATION of this biological drive was indispensable to his enlightenment. Properly speaking this drive does not belong to a man's ego function, but rather to his SOUL COMPLEX. NATURALLY, a man will see this function as something outside of himself. ie. In a woman who excites his desires. Never realizing that she is nothing more than a projection from his own Unconscious. For this reason Jungian psychology teaches that she must be withdrawn from external reality. ie. From projection. In this way she is brought inwards and becomes a function of relationship between the inner man and his inner world. No longer can she dance the ILLUSION OF EXISTENCE, because she has been seen through. This has favorable results both for the Adept and his soul, for they both experience their redemption. Indeed the whole kingdom is healed. Klingsor loses the MYSTICAL spear, ( phallic symbol ) and his demonic influence over Kundry. The latter is REDEEMED and shows Mary Magdalene behavior. The entire Kingdom is healed as the spear is returned to the holy vessel or Grail. And this is the KEY. It's all SYMBOLIC. MEANING, The so called " sexual union " ie. Spear and Grail is in fact a union of opposites ,spirit and soul, masculine and feminine, dark and light, YIN AND YANG. It is an intrapsyhic union, which can never happen until the EROTIC complex is withdrawn from projection. This requires decades, a lifetime of commitment to internalization, withdrawal from the worldly affairs and distractions that beset the common man. This is the true path to enlightenment, requiring a JOURNEY into those, " untroddable untreadable" ( Goethe's Faust) regions of the human psyche where none may dare. Unless, of course you are Faust Willing to brave the dark descent into the underworld, where PRIMAL forces seething with madness hold away, ensuring the same control over humanity since DAY one. Naturally, the surface dwelling folk no nothing of such matters, but are ever @ prey to their chaotic and destructive influence as the present state clearly reveals. " HAVE A NICE DAY "
El meu pare deia que Die Walkure era la millor opera de Wagner fins que va escoltar Parsifal. Llavors va dubtar quina era la millor. Tenia raó. Quina música més excepcional!!!!
For some reason there are directors who don't want Kundry to die. I'm afraid that means they have missed an important part of the story. Kundry's most cherished wish is to finally be allowed to die. Her collapse provides a "gut punch" dramatically speaking. That in contrast with the sublime ceremony of the Grail is far more powerful dramatically.
I have never attended to a live performance of this opera, though I've listened to many records and videos of it. This opera is way more than an opera to me, it has changed the way I see the world ( guess all works of art do it somehow) hope if I ever have the chance to see a live performance of it I won't be too prone to comparisons to the most acclaimed ones
Parsifal. Por Lenore Surem. El Festival Escénico Sacro. Es la obra fundamental del compositor alemán Richard Wagner. Concebida únicamente para ser interpretada en el teatro de Bayreuth; recinto edificado por el propio Wagner para la representación de sus obras. Es el único de los grandes compositores en construir un teatro exclusivo. El discurso de la melodía infinita en su madurez más exquisita fluye de forma natural en toda la partitura de Parsifal. Para entender mejor su música es necesario conocer sus ideales artísticos. Wagner estaba convencido de que por medio del arte era posible instruir este mundo decadente en el que impera el materialismo y la falta de valores morales y espirituales. Creía que el verdadero artista es aquel que no persigue la ambición ni la fama, sino aquel capaz de unificar y transformar desde el interior. Wagner decía que su música era creada para provocar un efecto placentero constante en el oyente; a mi me gusta compararlo con el efecto de una droga cuyo placer es prolongado, infinito... . Lo importante en Wagner no es la melodía solitaria, lo importante es todo el peso orquestal, esa fuerza que ejerce en conjunto la poesía, el teatro y la música en nuestro subconsciente como una unidad total desde el principio hasta el final. En cambio, en Verdi, por ejemplo, la música es como una deliciosa barra de chocolate. A todo mundo le gusta el chocolate. Verdi se acerca a temas más mundanos mientras que Wagner a temas más elevados. Esto significa que para comprender su música se requiere de un esfuerzo mucho mayor. Son formas diferentes. El primer acto de Parsifal abre el camino ilustrando el paisaje montañoso de la España medieval. En medio aparece imponente el castillo de Montsalvat que yace resguardado en el centro de un bosque otoñal. El anciano Gurnemanz y sus dos jóvenes escuderos descansan bajo la luz de la luna. Poco a poco los rayos del sol de la mañana son vertidos sobre el paisaje. (El preludio acompaña este trasfondo medieval inigualable que es simple y a la vez muy complejo porque nos está preparando para un rito de iniciación). Al terminar el preludio los tres se despiertan, y juntos se arrodillan para rezar la oración de la mañana, en silencio. (ese marco espiritual de la obra representa a la sociedad humana en su estado más puro, restos de una época ya olvidada) La zona del castillo está habitada por un grupo de caballeros y escuderos de la orden del grial. Titurel, fundador de la orden, recibió de los ángeles la lanza (símbolo masculino) y el cáliz (símbolo femenino). No obstante el temible Klingsor quien arrebató la lanza a Amfortas (heredero de Titurel) desea aniquilar la orden. Amfortas sufre de una herida provocada por la lanza que no sana nunca. Algunos identifican a Amfortas con la sociedad en decadencia, esta sociedad herida de muerte la cual solo puede ser redimida según la profecía por un héroe puro y casto (Parsifal). En este primer acto aparece Parsifal abatiendo a un cisne con su arco. Al instante Parsifal se arrepiente de haber asesinado al cisne y rompe su arco. Más adelante resuenan las campanas del castillo de Montsalvat anunciando el santo oficio. Parsifal es invitado a la ceremonia del grial. Aparece esta frase: «aquí el tiempo se convierte en espacio», una frase maravillosa que simboliza un tiempo de los dioses, una época dorada; aquella época en la que los dioses caminaban junto al hombre. Amfortas es obligado a efectuar el santo oficio, mientras tanto, Parsifal, en éxtasis, petrificado, presencia el milagro de la eucaristía. Unas voces recuerdan la profecía. El segundo acto es el acto de la tentación y la compasión. Parsifal no rinde ante la tentación al recordar a Amfortas, el rey herido. Aquí es cuando la compasión le otorga la fuerza necesaria para quitarle la lanza a Klingsor y partir de vuelta a Montsalvat. Experimenta la verdadera compasión solo cuando Parsifal siente en carne propia el dolor de Amfortas. Este segundo acto es de un carácter musical totalmente diferente al primero. Resulta curioso que éste sea el acto favorito de mucha gente; una música sensual, atractiva, tentadora. Y el primer acto sea el que menos suele gustar (el más espiritual, contemplativo...) El sentido teológico de la piedad en el tercer acto es fundamental para comprender toda la obra. Wagner hace teología en el sentido más puro del concepto. Veamos en resumen lo que expresa el propio Wagner en una carta tiempo después de experimentar el viernes santo en carne propia: «la piedad ha despertado mi compasión, ésta compasión parece el rasgo más distintivo de mi moral, y probablemente sea también la fuente de mi arte. Lo que caracteriza la compasión, es que no está afectada por ninguno de los aspectos individuales del sujeto que sufre, sino más bien y únicamente por el sufrimiento observado en sí mismo. No conocemos el mundo que nos rodea sino cuanto podemos imaginárnoslo, y tal como yo me lo imagino existe para mí. Si yo lo ennoblezco, es que hay nobleza en mí; si siento profundamente el sufrimiento de aquellos que me rodean, es que mi sensibilidad es capaz de esa intensa emoción. Aquellos que por el contrario, se imaginan el sufrimiento de los demás en dimensiones reducidas, prueban por eso mismo que no hay grandeza en ellos. Así mi compasión hace del sufrimiento de los demás una verdad, y cuanto más insignificante es el ser al cual se dirige esta compasión, más grande es el campo de mi sensibilidad. He aquí el rasgo de mi carácter que podrá parecer a otros una debilidad. Yo admito que ello favorece al exclusivismo, pero estoy seguro de obrar conforme a mi naturaleza y, en todo caso, no hacer mal a nadie intencionadamente. Sólo esta consideración puede aún determinar mis actos: causar a los demás el menor mal posible. La felicidad verdadera es la comunión en la piedad. Algún día te será expuesto esto más claro en el tercer acto de “Parsifal” en la mañana del Viernes Santo» (Imagino que la traducción original de esta carta está a cargo de Ángel Fernando Mayo). Podría escribirse un libro entero de Parsifal y aun faltarían cosas por explicar. Hablar de Wagner es hablar de pasión. Gracias a él comprendí mi verdadero camino como artista, entre otras cosas. Parsifal es un verdadero evangelio wagneriano. La cima de su genio creativo. Tristan e Isolda es la carne, la pasión, el arrebato, mientras que Parsifal es el alma, el pecado y la redención, lo divino, lo sublime. Más que una obra es una filosofía de vida. Parsifal ofrece la solución para combatir la decadencia social a muchos niveles. Wagner era un profeta. El teósofo Mario Roso decía lo siguiente: «En el Parsifal, el pensamiento de Wagner parece velado de intento; en efecto, y para entresacar el sentido de determinadas alusiones filosóficas, cuando se logra, tenemos que hacer gran fuerza de trabajos de adivinación y de reconcentración mental, porque en esa Obra, como en una pesadilla, hallamos confundidos los elementos más diversos: altas cuestiones de filosofía, recuerdos bíblicos y orientales, misticismos, ortodoxia, vestigios de culto católico, rituales paganos, nigromancia, sonambulismo e hipnotismo, prácticas de la caballería medieval, éxtasis, ascetismos, piedad, redención, afinidades de la naturaleza material con el alma humana, amor en su acepción más torpe, amor en su acepción más pura...a todas luces resalta con entera claridad meridiana, que Wagner fue un gran iniciado, un esoterista de fondo, un auténtico iluminado...» m.facebook.com/groups/1385908238095359?view=permalink&id=3202171773135654
Thank you so much for sharing this unique performance, with English subs also. All the performers are German and they sing very clearly, a quite rare phenomenon in Opera nowadays, except when it is Italian. I think Wagner himself would have approved greatly - staging, costumes, interpretation, everything. I envy the people who attended, live!! Which year is this performance?
Actually not all the singers are German. Matti Salminen (who sings Titurel) is Finnish, Leif Roar (who sings Klingsor) is Danish and Eva Randova (who sings Kundry) is Czech. But definitely a great performance!
bei 1.23.37 Zeitmesser .: Nehmet hin meinen Leib..... Gesungen von den höchsten Höhen. Wir zwengten uns durch 100 Jahre Gebälk im höchsten Teil des Festspielhauses.(2 Tenöre und 5 Soprane) Ein Klangwunder durchflutete das Festspielhaus, wie es auf der Welt wohl einmalig ist.
Wagner was in touch with a higher power that only he knew. There’s nothing in music that can compare to the humanity that this work touches upon. I’m sorry the Met is skipping it this year again.
Non trovo parole x descrivere come sento e vivo la musica del Parsifal in questo momento in cui il Covid è globale. La musica del Parsifal mi penetra nel profondo e mi scuote dalle zone più nascoste. Nel Parsifal sento una possente Energia cosmica dalla quale posso percepire la grandezza l'ampiezza la maestosità divina. Eternamente grata a Wagner x questa sua sacralità. 🙏🌎💫🎶🎵
1981 Bayreuth, Wolfgang Wagner Production, Hans Sotin - Gurnemanz, Eva Randova - Kundry, Siegfried Jerusalem - Parsifal, Bernd Weikl - Amfortas. Traditional staging which is next best to Met 1992 Otto Schenk Production. Siegfried Jerusalmn is 11 years older in Met Parsifal. He is great in both.
Jerusalem is fresher-voiced here with far superior conducting (compared to Levine's somnolent tempos). The only advantage of the Levine set is as always Waltraud Meier though Randova is certainly nothing to sneeze at.
He is truly spectacular here - very underrated compared to other Wagnerian basses even much less rich-voiced but more recorded ones such as the Nazi sympathizer Karl Ridderbusch, a Karajan favorite.
Nachdem ich in die 2021er Inszenierung der Wiener Staatsoper (Fernsehen) reingesehen habe, habe ich mit Freude diese wunderschöne Inzenierung aufgedreht! Was tut man Wagners Gesamtkunstwerk an, wenn sinnentleerte Parsifal Inszenierungen in Gefängnissen und Irrenhäusern stattfinden? Großartig gesungen und in Szene gesetzt! Horst Stein hat mir bereits in den 60er und 70er Jahren viele schöne Stunden mit Wagner in der Wr. Staatsoper beschert. Vielen herzlichen Dank!
Wohl wahr. Es findet fast nur noch "Regietheater" statt. Vor einigen Jahren in Wiesbaden "Tannhäuser" von Laufenberg mit splitternackten Frauen und Männer. Der neue Ring in Berlin von Herheim. Ich frage mich, wie man auf solch verrückte Ideen kommen kann. Da lob ich mir den Mannheimer "Parsifal". Eine zeitlos schöne Inszenierung. Seit sage und schreibe 1957 im Programm. Karfreitag war ich in Mannheim und habe mir die Vorstelljung angeschaut. Man konnte sich schon für 2023 vormerken lassen; Karfreitag und Ostermontag.
Magicians who castrate themselves for their powers. "Here, time becomes space." Wha'? So murky and difficult to understand. Yet that is exactly what I like about it. Here there is knowledge that passes all understanding and every time I watch Act I (IMO, the best part.) I seek understanding. Understanding is what drives the drama, for me.
1:54 Act I
1:39:22 Act II
2:44:26 Act III
Please may I have the year of recording of this masterpiece? Thanks
@@omairagamboa7821 Here are all the details: www.operatoday.com/content/2008/01/wagner_parsifal_4.php . It's from 1981.
@@TwinsunianT Thank you so much! I think this is the most important recording of this masterpiece, not only for the beauty itself but for the cast that interprets it, especially Hans Sotin
What sublime beauty is this music!
@@TwinsunianT Thanks! I suspected it was quite a while ago since Siegfried Jerusalem looks so young.
My father died last week, and he loved this opera and Wagner in general. How a first-born son who should have been a farmer in Iowa decides he's going to leave home, marry a Polish woman he met in Paris, become a French professor and an opera fanatic is beyond me, but he did. He was soooo different from the other dads in Oklahoma, but now I appreciate him enormously. Thank god he spent one week alone in NYC at the Met attending a Wagner marathon. It was the only time he spent money on himself. His mother sat on millions in farmland and didn't cash out, leaving it for six kids. My parents died within one year of each other and never got to spend that inheritance on anything "fun." So I am going to live the fudge out of my life in their honor. I'm not worthy of it, but life isn't fair. Who knows, I may not have long either. One never knows. I love you, Daddy (and Mommy, who attended all the operas except for the 6 hour ones...) Be good to your "annoying," "boring," and "weird" parents who are frugal and responsible.
Sounds like the best father, at least for me, I never meet my father.
Quintessence -- Same here: Dad from Poltava-Harbin-Paris Sorbonne. Successful chemist-inventor. Now I'm 75...ended up happy in San Agustinillo, Oaxaca! You?
😇🙏🏻😇4🤍💚💚△△△💖000
Good for you! Enjoy! Sorry about your parents’ passings.
💖
Keep coming back here, so I'm just gonna make this list.
My favorite moments:
1:56 Prelude
13:32 The squire's prayer
21:14 Amfortas' dream
26:13 Amofrtas' gratitude
37:02 Gurnemanz talks about the legend of Titurel
48:01 Gurnemanz scolds Parsifal and talks about the swan
59:43 Gurnemanz invites Parsifal to the Grail rite*
1:01:30 Verwandlungsmusik (Transformation music)*
1:05:58 The entrance of the knights*
1:12:29 Amofrtas cries out for forgiveness
1:30:20 Communion*
1:58:38 Flower maidens try to seduce Parsifal
2:03:41 Kundry reminds Parsifal of his name
2:41:28 Parsifal takes the holy spear from Klingsor
2:44:26 Act III Prelude
2:49:43 Gurnemanz discovers and wakes Kundry*
2:54:40 Love this short part in the orchestra
3:01:12 + 3:05:40 Gurnemanz recognizes the holy spear
3:17:50 Good Friday Spell*
3:19:32 Parsifal baptizes Kundry
3:26:06 Don't have words, this is too beautiful...*
3:33:33 Titurel's funeral march*
3:44:08 Parsifal heals Amfortas with the spear
3:47:36 Finale*
@Harold Slick Titurel's funeral march, yes! How could I forget?
Favorite moments, where “favorite” equals “all of them” :)
El momento más sublime es el encantamiento del Viernes Santo, Hans Sotin aquí hace una interpretación como pocas ha habido
@@omairagamboa7821 es la música más hermosa sin duda, es lo mejor que he oído en mi vida yo creo, en cuanto a mis gustos personales al menos. De parsifal el viernes santo y el interludio es lo más hermoso, lo amo tanto, para mi es sagrada esta obra, daría mi vida por ella.
@@javiermedina5313 totalmente de acuerdo!
How a human being could create music like this will always remain a miracle for me !
It takes you like in a rush , opening a completely new world in your mind...
Why tell me, in an old man like me sitting with tears rolling down his cheeks. Words fail me.
I'm glad to hear about your tears. That means you have realized the message of "Parsifal." I can imagine Wagner saying the same thing.
The most beautiful and moving music set upon paper by mortal hands!
Except for some of Wagner's other music!
What a ridiculous and pointless statement to make! All over UA-cam I read declarations that here is the finest pianist and there we have the most wonderful symphony etc. Why impose your estimation on others. Parsifal is boring to me, and Wagner was such a vile, profligate egomaniac that his music cannot be moving.
OMG. I am 58 how have I never come across this before??? It is totally amazing
Better late than never🙂!
From a musicians family I knew from it quite early in my life, but it all was nothing compared to sitting in the Bayreuth Festival opera myself listening to it when I was just 18 ----- the acoustics there is just breathtakingly amazing -- the best in the world for Wagners music for sure --- better than the best Multi-billion high-end system would ever be. it moves you like a tremendous avalanche indeed !!!
It's Wagner's last and least well known. Wagner's other operas contain plots with characters who act out extraordinary, yet human deeds. IMHO, Wagner's other operas contain plots and characters who act out extraordinary, yet human deeds. Parsifal is Wagner's murkiest work, full of mysteries and Christian symbolism and rites- the knights of the holy grail, the spear that pierced Christ's side. Non-Christian stuff as well, magic spells, murdered swans, a holy fool "made wise through compassion". A witch who does good deeds out of compassion for the the knights and their king yet claims she does no good and helps nobody. You're not the only one who arrives late for the feast.
Happy Birthday to our admirable dear Siegfried Jerusalem... 17.04.2020
And he's still singing, God bless him! I saw him onstage in many roles. At the time I'm writing this his 81st is coming up!
I'm new to Parsifal, but I've come back to this particular production more than a dozen times and listened to it in its entirety. The ever-turning shadings of this music so often bruise the heart but even so, there is pleasure in the heart having been seen, recognized, and transcribed.
This is the best, most mystical and profoundly touching music human ear can hear. I my life I had the honor of seeing Parsifal live and despite the fact that staging was mediocre at best, it was an experience that will be forever imprinted in me. No words can describe the final angelic voice coming from the top of opera house.
Yes, I once long ago saw Parsifal at the old New York Met, The staging was mediocre at best, but the music was well performed
I had the same experience. When I was maybe 8 years my father took me to a Parsifal production in the opera house of Antwerp. It must have been at best a mediocre version but I am till now 50 years later captivated by the story and the music. I made a piano transcription of the most memorable moments from the orchestral score. The meaning of the story applies to...well, almost anything, everywhere and allways. Yes I heard about the postmodern BS version that was staged recently in the same opera house in Antwerp. I didn't see it.
@@christianwouters6764 Father Owen Lee said it was mainly about springtime renewal.
Parsifal without silly postmodern affectations, with English subs on UA-cam, now that's a rarity xD
Bühnenbild und Musik im Einklang
@@daniel3231995 I've got to 1hr 06mins. It's worth the effort
@@daniel3231995 What, you "like" Wagner and you don't even know that Parsifal is based on Percival, the knight if King Arthur and the quest for the Holy Grail?
That even without knowing that, you're too fucking plank to follow a story that's even simpler than a normal movie for 30 minutes?
Then you don't have the presence of mind to learn to read or, look it up or anything, you just come in here and call the really simple story "heavy", that you have the concentration-span of a gnat and don't know what the fuck is going on? What laughing stocks you all are.
@@Oscuros 🦟ty for the rant!
Yeah, one more time the archetypical old-fashioned medieval version of Parsifal we have all seen 100000 times.
Boring.
Perfect viewing for a Good Friday, on which I'm watching this (4/7/2023). What a glorious performance. Sometimes the older performances (this one from 1981, for example) of great operas are where many gems can be found. Thanks for posting this. 🌹 💃 🎹🙂
A few years ago i took three tabs of acid and watched this as my high kicked in. Needless to say it was easily the best night of my life, Wagner's brilliance in music gave me such a profound spiritual experience, i was able to feel the mysticism of this production on a deeper level, since that night, Wagner's music of any kind touches the very depths of my soul.
t. judeo-masonic occultist
@@Luke-eg1gn Your not wrong 😏😈☺️
@@Javithegothi2.5.90 Careful, bro. Play with acid & you may not be able to come back one day.
@@aclark903 shut yo ass up. Shit is so false.
@@rayvn7596 ask Syd Barrett and Peter Green
I lay back and breathe in, but a fear mounts as I turn this beautiful opera on on my phone to listen to it once again.
I was totally bummed after watching a train wreck Parsifal by the Dutch, and then next day, THIS pops up and all is right with the world. And with HORST STEIN, our beloved and unique director in Hamburg! And with many of the same voices I heard there in '81-'82 while singing in the "Sonderchor" for that production. Oh, the memories! Thank you, thank you, thank you!!!
03:47:36 The finale ... the music, the choir, it just blows me away each time I hear it. Supreme bliss!
Listening Parsifal is like to come in wonderful world of dreams and fairy tails. So beautiful. It's remember childhood memories.
this was the awesome version I heard played on BBC Radio 3 on Good Friday 1987. Wonderful to re discover it and actually be able to watch it on the big tv screen - although my wife has now walked out and hidden in the kitchen.
The Greatest Opera! For it is so much more!
There are so many great moments but around 2:30:54 I get goosebumps. Extraordinary harmonies and such gorgeous music intertwined with such pathos and deep philosophical meaning. Thank you Herr Wagner
thank you for posting this great version of Parsifal with some quite possibly unsurpassable singing
3:21:00 what a peaceful moment of music. Suddenly, the doors of heaven are opening.
3:50:47 - that chord always hits me. It's like looking into the face of God.....
1:23:45 is so beautiful that it almost made me cry
How much I appreciate the classical staging of the operas! The singers are fantastic, but also they have the "physique du role" and the staging only helps us to understand what wanted Wagner communicate? Back to the roots of the Theater, and thank you so much for positing that, You are great Twinsunian.
Dittoes--Wagner himself said opera should be a "total work of art" (Gesamkuntstwerk).
I appreciate a Wagner opera that is well done in the classic style. In general, while there are some regietheaters that are interesting, many of them tend to shock just for the sake of novelty instead of because they have something of weight to say. The Met Opera 2013 regietheater Girard staging of Parsifal was one that was done very well and that left an impact on the audience as to the meaning of the symbolism that is at work in Wagner's opera. But for every regietheater that is a success there are many that bomb. I much prefer it when modern technology is put to use to make a traditional telling excellent. Projecting backgrounds to set a mood or to visualize something that would be too expensive to build as a set when doing the Ring is a great example of making a great opera even better. I can think of others such as using laser lighting effects on stage (kupfer did this to excellent effect), using dry ice fog machines, etc. Many creative things can be done within the parameters of a traditional staging to make it come alive. The Holy Grail as a visible 3d hologram floating in the air when it first appears is one thing that would be great.
The *ne plus ultra* of music in a magnificent performance. No words can describe it.
I've always wanted to see this opera. Since lock down, now I have the time. Dankeschön
I feel also blessed
My favourite Wagner opera and favourite recording of said opera. Thanks for uploading.
in Austria a small brewery makes beer while playing "the Ring". Ppl love it!
Amazing... In act two when Klingsor summons Kundry and she appears suddenly is just chilling... I literally startled and my heart almost stopped! Loved the first act so far... Amazing production!
"Du, Kundry?" and so on... 26:13
Amfortas' gratitude towards Kundry may be one of my (many) favorite moments of Parsifal, even though its just a small part of the opera.
I agree, it’s a small but beautiful melody. I have sung Kundry and could not enjoy it too much, as I had to concentrate and cut in suddenly with my jarring lines 😂
Llevo 9 años escuchandola en semana santa, me lo dejo de tarea Richar Wagner todas la semana santa,. Hermosa ópera!
Love Leif Roar, here as Klingsor! His Amfortas was wonderful too (heard it live more than once) and he was a wonderful Holländer. Amazing voice and amazing stage presence.
TRANSFORMATION MUSIC -- well named, as my life changed forever for the better after listening to this! 59:42
And how! The music just flows with invention after invention after invention. Amazing!
Nice production. The Goldilocks tempi are are delightful. In fact, reminiscant of Kna's tempi. I've loved this opera for over 60 years. I return to it again and again, like a fountain, to be renewed and refreshed. Wagner saved the very best for last.
... eine aufs Wesentliche konzentrierte mustergültige Inszenierung, mit besten Solisten; vom unvergessenen bedeutenden Horst Stein, einem der großen Bayreuther Dirigenten, mit Herzblut interpretiert.
Hermoso Parsifal. Detesto la ópera clásica con vestidos modernos...Claro que esta escenografía es más moderada en ese sentido y está hermosa realmente, comparada con otros bodrios que se ven cada rato en los grandes teatros de Europa por ejemplo en Baireuth...
Thank you for posting with English subtitles. A moving production to watch on Good Friday.
Vielen Dank fürs Hochladen dieser wunderschönen Aufführung!
fantastique et transcendant. Belle interprétation, qui nous fait vivre les questions de l'erreur (pas la faute) sévèrement punie et de la rédemption, pour Amfortas et pour Kundry . Tout le monde peut chuter pour avoir baissé sa garde un instant. La lumière et la foi (en quelque chose, pas seulement en la divinité) peut nous ramener dans la voie juste
Hasta ahora una de mis óperas preferidas
Espectaculares Hans Sotin y el "joven" Jerusalem. Una maravilla. Gracias por el aporte.
My 'go-to' version at the moment - enjoying at Easter - thank you so much for putting on youtube - Parsifal is like a warm bath of spirituality and I feel very much cleansed from experiencing it.
Exactly the same reason I'm listening right now.
Now that is the way to present Parsifal
Stein is underrated, probably because he kept himself out of equations. Nothing but the music. For that and this production,I am grateful!
Je viens juste de commencer et ne connais encore rien de cette émission, mais le fait que Siegfried Jérusalem chante Parsifal, me dit tout, ce sera une émission superbe.
Et j'ai eu raison, merci pour ce Parsifal et son compositeur. Quel chef d'oeuvre!!
Amfortas:Bernd Weikl
Titurel: Matti Salminen
Gurnemanz: Hans Sotin
Parsifal: Siegfried Jerusalem
Klingsor: Leif Roar
Kundry: Eva Randová
1st Knight of the Grail: Toni Krämer
2nd Knight of the Grail: Heinz Klaus Ecker
1st Squire: Marga Schiml
2nd Squire: Hanna Schwarz
3rd Squire: Helmut Pampuch
4th Squire: Martin Egel
Flower Maidens: Norma Sharp, Carol Richardson, Hanna Schwarz, Mari-Anne Häggender, Marga Schiml, Margit Neubauer
Alto Solo: Hanna Schwarz
Danke für diese wichtigen Informationen
Klingsor: Leif Roar (not “Rohr”).
@@skakdosmer Thanks. Changing it now.
Salminen,, with an "l", please.
@@wordsmithgmxch Thanks. Changing now.
Listening to this on Good Friday 2020 when, blessed by the consequences of a necessary virus, for the first time in my long life I see hope for mankind, the hope which is promised in this opera. Nature rejuvenated, cursed international communism and international capitalism evil twins of hell, banished to the shadows , oh I hope..
I couldn't have said it better.
God bless you, Yorick.
Yes for God's sake, just leave people alone.
Gràcies per publicar aquesta magnífica producció. M'agrada molt.
I agree with Claude Debussy who thought the characters and plot ludicrous, but nevertheless in 1903 wrote that musically it was "[i]ncomparable and bewildering, splendid and strong. "Parsifal" is one of the loveliest monuments of sound ever raised to the serene glory of music." He knew what he was saying.
#Percival
This is Wagner's greatest work which must be read together with the "Ring".
The "Ring" is a gigantic metaphor of our times: Kali-Yuga/Ragnaroeck/Iron Age which is happening right NOW. Irremediably lost and irreversible, for Nothung the sword was re-forged, but then Siegfried was abandonned by an absent Wotan (who in 'Goetterdaemmerung' only shows up in the orchestra).
"Parsifal", on the contrary, announces a nascent Golden Age whose birth throes we are presently undergoing. A New Avatar is to be born. Wotan's broken Spear shall be recovered and made whole again; it had become too heavy with Treaty Runes.
Now, the Grail will reunite with a new Spear/Pact and the Earth's Axis will be made straight once again, just as the Speer shown in Act III
Klingsor-Satan-Yahweh will disolve: the Ram and Fish redeemed by the Acquarian Archetype...
This is the best version I've seen so far. (by the way, I was lucky to hear Horst Stein direct "Tristan" in 1971 in my native Buenos Aires: Birgit Nielsen and Jon Vickers sang T&I)...
Coming back to "Parsifal" this is Wagner's only open-ended work. The Urauffürung was in Bayreauth in July 1882 and the Master left us in February 1883. Anyway, He's still with us ever since. He prophetized the History of the World after his time. The last Chapter of which has by no means been acted out yet.
Wagner and those who understood and followed him in the 20th Century shall be proven right... - Adrian Salbuchi (arsalbuchi@gmail.com)
Beautiful.
sencillamente espectacular gracias por compartirla
Splendid, thank you, thousands thanks from Finland. 2.1.2021.
BRAVO!
YOU SEE! The drama of redemption lies in Parsifals rejection of Kundry, who symbolizes earth bound sensuality. All others fall prey to her CHARMS. Reminds me of Faust's posthumous declaration,
" Hard to save whom lust bespake,
weak before his fire,
who in single strength can break,
chains of dark desire?
So the foot will swiftly slip, on the slant way gliding,
heart the fool of eye and lip,
in soft words confiding. "
Why does sensuality and lust get such a hard time?
@@paulybarr
Good question Paul.
It is an age old problem. A spiritual ATTITUDE must resist the DOWNWARD tendency of the Souls INCLINATION to body bound desires, or DESIRES OF THE FLESH.
AS THE BUDDHA case has shown, NEGATION of this biological drive was indispensable to his enlightenment.
Properly speaking this drive does not belong to a man's ego function, but rather to his SOUL COMPLEX.
NATURALLY, a man will see this function as something outside of himself. ie. In a woman who excites his desires. Never realizing that she is nothing more than a projection from his own Unconscious.
For this reason Jungian psychology teaches that she must be withdrawn from external reality. ie. From projection. In this way she is brought inwards and becomes a function of relationship between the inner man and his inner world. No longer can she dance the ILLUSION OF EXISTENCE, because she has been seen through.
This has favorable results both for the
Adept and his soul, for they both experience their redemption. Indeed the whole kingdom is healed.
Klingsor loses the MYSTICAL spear,
( phallic symbol ) and his demonic influence over Kundry. The latter is REDEEMED and shows Mary Magdalene behavior. The entire Kingdom is healed as the spear is returned to the holy vessel or Grail.
And this is the KEY. It's all SYMBOLIC.
MEANING, The so called " sexual union " ie. Spear and Grail is in fact a union of opposites ,spirit and soul,
masculine and feminine, dark and light, YIN AND YANG.
It is an intrapsyhic union, which can never happen until the EROTIC complex is withdrawn from projection.
This requires decades, a lifetime of commitment to internalization, withdrawal from the worldly affairs and distractions that beset the common man. This is the true path to enlightenment, requiring a JOURNEY into those, " untroddable untreadable"
( Goethe's Faust) regions of the human psyche where none may dare.
Unless, of course you are Faust Willing to brave the dark descent into the underworld, where PRIMAL forces seething with madness hold away,
ensuring the same control over humanity since DAY one.
Naturally, the surface dwelling folk no nothing of such matters, but are ever @ prey to their chaotic and destructive influence as the present state clearly reveals.
" HAVE A NICE DAY "
@@paulybarr Ask Schopenhauer.
Thank you for sharing this wit us 👍!
Hans Sotin, der beste Gurnemanz der letzten 40Jahre!
Sotin was a wonderful singer, but for me Kurt Moll was the greatest Gurnemanz in my 50 years of opera-going.
@@antwerpsmerle1404 A very close contest, both among the greats.
Thank you very much! You make the world a better place. The more the better
The absolute pick of music.
Wagner lifted the bar and it remains there since his death.
El meu pare deia que Die Walkure era la millor opera de Wagner fins que va escoltar Parsifal. Llavors va dubtar quina era la millor. Tenia raó. Quina música més excepcional!!!!
saw this production many years ago at the met..love it and what a great cast.love Wagner's operas.
each time after watching this masterpiece, I feel purified as well ... what an amazing work.
For some reason there are directors who don't want Kundry to die. I'm afraid that means they have missed an important part of the story. Kundry's most cherished wish is to finally be allowed to die. Her collapse provides a "gut punch" dramatically speaking. That in contrast with the sublime ceremony of the Grail is far more powerful dramatically.
Thanks for sharing.Great to have the English subtitles and know what's actually going on.Brilliant music of course.
The history, the music, the singer... Vagner... all is wonderful. Thank you all.
1:56 you're welcome
3:49:10 : Voices of Heaven. Literally.
I have never attended to a live performance of this opera, though I've listened to many records and videos of it. This opera is way more than an opera to me, it has changed the way I see the world ( guess all works of art do it somehow) hope if I ever have the chance to see a live performance of it I won't be too prone to comparisons to the most acclaimed ones
amazing. tears to my eyes
Un Parsifal digne de ce nom !
Parsifal.
Por Lenore Surem.
El Festival Escénico Sacro.
Es la obra fundamental del compositor alemán Richard Wagner. Concebida únicamente para ser interpretada en el teatro de Bayreuth; recinto edificado por el propio Wagner para la representación de sus obras. Es el único de los grandes compositores en construir un teatro exclusivo.
El discurso de la melodía infinita en su madurez más exquisita fluye de forma natural en toda la partitura de Parsifal. Para entender mejor su música es necesario conocer sus ideales artísticos. Wagner estaba convencido de que por medio del arte era posible instruir este mundo decadente en el que impera el materialismo y la falta de valores morales y espirituales. Creía que el verdadero artista es aquel que no persigue la ambición ni la fama, sino aquel capaz de unificar y transformar desde el interior. Wagner decía que su música era creada para provocar un efecto placentero constante en el oyente; a mi me gusta compararlo con el efecto de una droga cuyo placer es prolongado, infinito... . Lo importante en Wagner no es la melodía solitaria, lo importante es todo el peso orquestal, esa fuerza que ejerce en conjunto la poesía, el teatro y la música en nuestro subconsciente como una unidad total desde el principio hasta el final. En cambio, en Verdi, por ejemplo, la música es como una deliciosa barra de chocolate. A todo mundo le gusta el chocolate. Verdi se acerca a temas más mundanos mientras que Wagner a temas más elevados. Esto significa que para comprender su música se requiere de un esfuerzo mucho mayor. Son formas diferentes.
El primer acto de Parsifal abre el camino ilustrando el paisaje montañoso de la España medieval. En medio aparece imponente el castillo de Montsalvat que yace resguardado en el centro de un bosque otoñal. El anciano Gurnemanz y sus dos jóvenes escuderos descansan bajo la luz de la luna. Poco a poco los rayos del sol de la mañana son vertidos sobre el paisaje. (El preludio acompaña este trasfondo medieval inigualable que es simple y a la vez muy complejo porque nos está preparando para un rito de iniciación). Al terminar el preludio los tres se despiertan, y juntos se arrodillan para rezar la oración de la mañana, en silencio.
(ese marco espiritual de la obra representa a la sociedad humana en su estado más puro, restos de una época ya olvidada)
La zona del castillo está habitada por un grupo de caballeros y escuderos de la orden del grial. Titurel, fundador de la orden, recibió de los ángeles la lanza (símbolo masculino) y el cáliz (símbolo femenino). No obstante el temible Klingsor quien arrebató la lanza a Amfortas (heredero de Titurel) desea aniquilar la orden. Amfortas sufre de una herida provocada por la lanza que no sana nunca. Algunos identifican a Amfortas con la sociedad en decadencia, esta sociedad herida de muerte la cual solo puede ser redimida según la profecía por un héroe puro y casto (Parsifal). En este primer acto aparece Parsifal abatiendo a un cisne con su arco. Al instante Parsifal se arrepiente de haber asesinado al cisne y rompe su arco. Más adelante resuenan las campanas del castillo de Montsalvat anunciando el santo oficio. Parsifal es invitado a la ceremonia del grial. Aparece esta frase: «aquí el tiempo se convierte en espacio», una frase maravillosa que simboliza un tiempo de los dioses, una época dorada; aquella época en la que los dioses caminaban junto al hombre.
Amfortas es obligado a efectuar el santo oficio, mientras tanto, Parsifal, en éxtasis, petrificado, presencia el milagro de la eucaristía. Unas voces recuerdan la profecía.
El segundo acto es el acto de la tentación y la compasión. Parsifal no rinde ante la tentación al recordar a Amfortas, el rey herido. Aquí es cuando la compasión le otorga la fuerza necesaria para quitarle la lanza a Klingsor y partir de vuelta a Montsalvat. Experimenta la verdadera compasión solo cuando Parsifal siente en carne propia el dolor de Amfortas.
Este segundo acto es de un carácter musical totalmente diferente al primero. Resulta curioso que éste sea el acto favorito de mucha gente; una música sensual, atractiva, tentadora. Y el primer acto sea el que menos suele gustar (el más espiritual, contemplativo...)
El sentido teológico de la piedad en el tercer acto es fundamental para comprender toda la obra. Wagner hace teología en el sentido más puro del concepto. Veamos en resumen lo que expresa el propio Wagner en una carta tiempo después de experimentar el viernes santo en carne propia: «la piedad ha despertado mi compasión, ésta compasión parece el rasgo más distintivo de mi moral, y probablemente sea también la fuente de mi arte. Lo que caracteriza la compasión, es que no está afectada por ninguno de los aspectos individuales del sujeto que sufre, sino más bien y únicamente por el sufrimiento observado en sí mismo. No conocemos el mundo que nos rodea sino cuanto podemos imaginárnoslo, y tal como yo me lo imagino existe para mí. Si yo lo ennoblezco, es que hay nobleza en mí; si siento profundamente el sufrimiento de aquellos que me rodean, es que mi sensibilidad es capaz de esa intensa emoción. Aquellos que por el contrario, se imaginan el sufrimiento de los demás en dimensiones reducidas, prueban por eso mismo que no hay grandeza en ellos. Así mi compasión hace del sufrimiento de los demás una verdad, y cuanto más insignificante es el ser al cual se dirige esta compasión, más grande es el campo de mi sensibilidad. He aquí el rasgo de mi carácter que podrá parecer a otros una debilidad. Yo admito que ello favorece al exclusivismo, pero estoy seguro de obrar conforme a mi naturaleza y, en todo caso, no hacer mal a nadie intencionadamente. Sólo esta consideración puede aún determinar mis
actos: causar a los demás el menor mal posible. La felicidad verdadera es la comunión en la piedad. Algún día te será expuesto esto más claro en el tercer acto de “Parsifal” en la mañana del Viernes Santo»
(Imagino que la traducción original de esta carta está a cargo de Ángel Fernando Mayo).
Podría escribirse un libro entero de Parsifal y aun faltarían cosas por explicar. Hablar de Wagner es hablar de pasión. Gracias a él comprendí mi verdadero camino como artista, entre otras cosas. Parsifal es un verdadero evangelio wagneriano. La cima de su genio creativo. Tristan e Isolda es la carne, la pasión, el arrebato, mientras que Parsifal es el alma, el pecado y la redención, lo divino, lo sublime. Más que una obra es una filosofía de vida. Parsifal ofrece la solución para combatir la decadencia social a muchos niveles. Wagner era un profeta. El teósofo Mario Roso decía lo siguiente: «En el Parsifal, el pensamiento de Wagner parece velado de intento; en efecto, y para entresacar el sentido de determinadas alusiones filosóficas, cuando se logra, tenemos que hacer gran fuerza de trabajos de adivinación y de reconcentración mental, porque en esa Obra, como en una pesadilla, hallamos confundidos los elementos más diversos: altas cuestiones de filosofía, recuerdos bíblicos y orientales, misticismos,
ortodoxia, vestigios de culto católico, rituales paganos, nigromancia, sonambulismo e hipnotismo, prácticas de la caballería medieval, éxtasis, ascetismos, piedad, redención, afinidades de la naturaleza material con el alma humana, amor en su acepción más torpe, amor en su acepción más pura...a todas luces resalta con entera claridad meridiana, que Wagner fue un gran iniciado, un esoterista de fondo, un auténtico iluminado...»
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Excelente documento muchas gracias, un saludo desde Medellín Colombia
Wagner at his zenith. If one’s life needs meaning, you can find it here. There’s the Bible, then Wagner. 🌖
Wagner first, then the Bible!
Thank you so much for sharing this unique performance, with English subs also. All the performers are German and they sing very clearly, a quite rare phenomenon in Opera nowadays, except when it is Italian. I think Wagner himself would have approved greatly - staging, costumes, interpretation, everything. I envy the people who attended, live!! Which year is this performance?
It is from the year 1981.
Actually not all the singers are German. Matti Salminen (who sings Titurel) is Finnish, Leif Roar (who sings Klingsor) is Danish and Eva Randova (who sings Kundry) is Czech. But definitely a great performance!
Amfortas - Bernd Weinkl
Titurel - Matti Salminen
Gurnemanz - Hans Sotin
Parsifal - Siegfried Jerusalem
Klingsor - Leif Roar
Kundry - Eva Rondova
Chor der Bayreuther Festspiele
Orchester der Bayreuther Festspiele
Leitung: Horst Stein
Good Friday Music 3:17:45
bei 1.23.37 Zeitmesser .: Nehmet hin meinen Leib..... Gesungen von den höchsten Höhen. Wir zwengten uns durch 100 Jahre Gebälk im höchsten Teil des Festspielhauses.(2 Tenöre und 5 Soprane) Ein Klangwunder durchflutete das Festspielhaus, wie es auf der Welt wohl einmalig ist.
Wagner was in touch with a higher power that only he knew. There’s nothing in music that can compare to the humanity that this work touches upon. I’m sorry the Met is skipping it this year again.
Bellissima regia originale perfetta del Parsifal di Wagner commovente ❤❤❤❤❤❤❤❤mi commuovo ❤❤❤❤❤❤
Non trovo parole x descrivere come sento e vivo la musica del Parsifal in questo momento in cui il Covid è globale. La musica del Parsifal mi penetra nel profondo e mi scuote dalle zone più nascoste. Nel Parsifal sento una possente Energia cosmica dalla quale posso percepire la grandezza l'ampiezza la maestosità divina. Eternamente grata a Wagner x questa sua sacralità. 🙏🌎💫🎶🎵
Wunderschön!
1981 Bayreuth, Wolfgang Wagner Production, Hans Sotin - Gurnemanz, Eva Randova - Kundry, Siegfried Jerusalem - Parsifal, Bernd Weikl - Amfortas. Traditional staging which is next best to Met 1992 Otto Schenk Production. Siegfried Jerusalmn is 11 years older in Met Parsifal. He is great in both.
Jerusalem is fresher-voiced here with far superior conducting (compared to Levine's somnolent tempos). The only advantage of the Levine set is as always Waltraud Meier though Randova is certainly nothing to sneeze at.
A very moving production, especially when compared with Bayreuth crap today.
Klasse Inszenierung & Besetzung
Thank you.
May I have the year of recording? Such luminous voices, Sotin deserves an especial mention, one of the greatest Gurnemanz I have ever heard...
1981
@@takekotoyama8147 Thank you, warm regards from Caracas
He is truly spectacular here - very underrated compared to other Wagnerian basses even much less rich-voiced but more recorded ones such as the Nazi sympathizer Karl Ridderbusch, a Karajan favorite.
Абсолютно гениально. Вагнер после Парсифаля - высшая точка европейской культуры.
Thank you!
Extraordinario
Nachdem ich in die 2021er Inszenierung der Wiener Staatsoper (Fernsehen) reingesehen habe, habe ich mit Freude diese wunderschöne Inzenierung aufgedreht! Was tut man Wagners Gesamtkunstwerk an, wenn sinnentleerte Parsifal Inszenierungen in Gefängnissen und Irrenhäusern stattfinden? Großartig gesungen und in Szene gesetzt! Horst Stein hat mir bereits in den 60er und 70er Jahren viele schöne Stunden mit Wagner in der Wr. Staatsoper beschert. Vielen herzlichen Dank!
Wohl wahr. Es findet fast nur noch "Regietheater" statt. Vor einigen Jahren in Wiesbaden "Tannhäuser" von Laufenberg mit splitternackten Frauen und Männer. Der neue Ring in Berlin von Herheim. Ich frage mich, wie man auf solch verrückte Ideen kommen kann. Da lob ich mir den Mannheimer "Parsifal". Eine zeitlos schöne Inszenierung. Seit sage und schreibe 1957 im Programm. Karfreitag war ich in Mannheim und habe mir die Vorstelljung angeschaut. Man konnte sich schon für 2023 vormerken lassen; Karfreitag und Ostermontag.
Möge Gott Bayreuther Festspiele segnen.
Thank you for this.
bayreuths in those era were so great, thanks for sharing.
me and bro smoked so much weed and watched this so fknn trippy wtf. wagner jeez
Tuve la oportunidad de asistir a ver esta magnifica obra y fue maravilloso..wagner un genio total!!.eterno!..
Cuál es la fecha de esta grabación?
@Seb G Gracias, saludos cordiales desde Caracas
Amfortas - Bernd WeinklTiturel - Matti SalminenGurnemanz - Hans SotinParsifal - Siegfried JerusalemKlingsor - Leif RoarKundry - Eva RondovaChor der Bayreuther FestspieleOrchester der Bayreuther FestspieleLeitung: Horst Stein
Thank you so much
It's just a shame the end of Act I cuts off a little early :)
@@geofflindsey4006 Sorry about it, but this was already on the original DVD...
maravillosa
sublime
Thk you
Magicians who castrate themselves for their powers. "Here, time becomes space." Wha'? So murky and difficult to understand.
Yet that is exactly what I like about it. Here there is knowledge that passes all understanding and every time I watch Act I (IMO, the best part.) I seek understanding. Understanding is what drives the drama, for me.