Richard Wagner (1813-1883)
Parsifal (1882)
Music drama in three acts, libretto by the composer
Parsifal – Wolfgang Windgassen (tenor)
Kundry – Martha Mödl (soprano)
Gurnemanz – Ludwig Weber (bass)
Amfortas – George London (bass-baritone)
Titurel – Arnold van Mill (bass)
Klingsor – Hermann Uhde (bass-baritone)
Orchestra & Chorus of the Bayreuth Festival/Hans Knappertsbusch
rec. live composite, 30 July-25 August 1951, Bayreuth Festival
No libretto
XR Remastering, Ambient Stereo
PRISTINE AUDIO PACO190 [4 CDs: 269]
In my survey of major Parsifal recordings, I diverge slightly from the received opinion in expressing a few reservations, especially about Ludwig Weber’s assumption of the role of Gurnemanz but also concerning the inevitably constricted mono sound. I drew some flak for some quarters for daring to poke a sacred cow; I reproduce part of my findings here:
“The adulation accorded this recording in previous reviews and elsewhere mystifies me; it strikes me
that some of it is couched in terms which approach the obsessively unhinged. Don't misunderstand
me; I love Wagner and do indeed find Parsifal to be a truly spiritual experience, even (especially?)
on disc - but this recording is not the one to do it for me.
First, it's in slightly dim, but perfectly listenable mono. Fine; I listen happily to many recordings of
lesser sonic quality - but if I can have a Parsifal in beautiful, clear, stereo sound, I'd prefer it.
Furthermore, I prefer a Gurnemanz of the kind delivered by Kurt Moll, whose beauty of voice, tonal
splendour and understanding of the text inevitably put the wobbly Ludwig Weber in the shade. He is
on stage for so long that this role is really crucial to our enjoyment - and I find Weber's vocal failings
and unsteadiness a bit of a trial when I have the aural image of Moll's sonorous bass in my head.
Windgassen, too, is perfectly adequate, but he always sounded elderly even when he wasn’t, whereas … no-one except perhaps Thomas Stewart and, to a lesser extent, José van Dam, matches
George London's great anguished, black-voiced Amfortas but that's the only real casualty if, for
example, you opt for Kubelik on the Arts & Archives label.”
An expert remastering of a classic mono recording can of course do one of two things – or perhaps a combination of both: reveal it in revitalised splendour or lay bare any flaws which dimmer, more distant sound obscured – although Andrew Rose has always been very good at remedying as far as possible any such unwelcome manifestations without undue intervention. His remastering of the famous Furtwängler
Tristan und Isolde was for me a revelation and I almost invariably find that the Pristine treatment pays rich dividends, so I looked to this latest reincarnation of another classic Wagner recording to see if it would work the same magic for me. Probably the best previous issue was on Naxos but I have been satisfied with the set I have on the Zyx label, which is the basis of my comparison here.
From the very first bars of the Prelude, the transformation worked by Pristine is startling and I am hooked. Richer, deeper, more spacious, the embodies the profundity and spirituality of Knapperstbusch’s vision more completely than any predecessor. It completely puts to bed my first objection regarding the quality of sound – even if it does indeed reveal more overtly some of the flaws and imprecisions in intonation and ensemble in the Bayreuth orchestra – but it scarcely matters in a performance of such conviction and concentration. I have never heard the brass come across so clearly, with such bite and sonority, as they do here and balances seem both better and closer. At times, the orchestral sound is almost sumptuous – no mean feat for so venerable a live recording.
My second reservation concerns Weber’s assumption. The much-improved sound gives his voice more body and bite even if the intermittent unsteadiness remains apparent. My favourite passage in the work begins in Act III with Gurnemanz’s “Gesegnet sei, du Reiner, durch das Reine” and while Weber still cannot touch Kurt Moll for vocal splendour his delivery certainly comes across better here in this sonic refurbishment.
Pristine rightly put artwork depicting George London’s noble, bronze-voiced Amfortas on the cover of this new issue, as his is the greatest, most memorable contribution to this performance – but Martha Mödl as a sexy, searing Kundry is not far behind him, while Hermann Uhde is also a superb Klingsor, febrile, hysterical and malicious. Nothing will make Windgassen sound like a callow, muscle-bound youth but his stamina and musicality are admirable and his voice rings out at key points.
I do like Pristine’s conversion to packaging in slim, cardboard slipcases with some vivid coloured portraits of the main singers inside. Anyone wanting this celebrated performance would be well advised to acquire in Pristine’s latest remastered issue – it is far superior to anything which has gone before.
Ralph Moore
Other cast
Alto Stimme - Ruth Siewert (contralto)
Knappe 1 - Hanna Ludwig (soprano)
Knappe 2 - Elfriede Wild (contralto)
Knappe 3 - Günther Baldauf (tenor)
Knappe 4 - Gerhard Stolze (tenor)
Blumenmädchen 1 - Lore Wißmann (soprano)
Blumenmädchen 2 - Erika Zimmermann (soprano)
Blumenmädchen 3 - Hanna Ludwig (soprano)
Blumenmädchen 4 - Paula Brivkalne (mezzo-soprano)
Blumenmädchen 5 - Maria Lacorn mezzo-soprano)
Blumenmädchen 6 - Elfriede Wild (contralto)
Ritter 1 - Walter Fritz (tenor)
Ritter 2 - Werner Faulhaber (bass-baritone)
