Wagner: Parsifal

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Music reviews of Wagner: Parsifal

Music Review: Astoundingly beautiful, but it misses the soul of the work
Rating: 4 Stars

Karajan's 1980 recording is a case in point. This performance never achieves lift-off. It doesn't soar. Its feet remain firmly planted on the ground. Which is a pity, considering that the miraculous sound world of Wagner's final opera has probably never been so stunningly captured as it is on this recording.

The most impressive aspect of this recording is the absolutely astounding playing of the Berlin Philharmonic. For instance, the Act 1 Prelude is one of the most stunning examples of Wagner's orchestral wizardry in his entire output, and to be able to hear it in a performance this gorgeous is almost incredible. The pure radiance of the strings is almost otherworldly, but I think it's the luminous bass line that is the real secret to the incredible texture. Throughout the work, the BPO achieves revelation after revelation in terms of sheer sound.

Karajan turns in a towering reading of this monumental score. He was always an expert with huge works, and his command of the structure of the score is exemplary. He faithfully observes Wagner's numerous dynamic markings, essential to the expression of the score, and throughout the work, his conducting achieves tremendous intensity (notably in the Act 1 Transformation Music and in the Act 3 Prelude). The only problem is, he's so obsessed with drawing out those incredible sonorities that he misses the soul of Wagner's drama. The central section of Act 3, where transcendence and spirituality in the conducting are absolutely necessary, is quite earth-bound. The orchestral playing, while stunning, is not sufficient to carry the performance off the ground. As with almost all post-1960 Karajan, it all seems too calculated, too pre-meditated, too un-spontaneous. Comparison with other pre-eminent Wagner conductors proves the point. In all of his recordings, Knappertsbusch, whose particular qualities made him more suited to this particular work than anyone else, provides the transcendent lift to the music that Karajan so drastically lacks (although it must be said, Kna's orchestras are nowhere near as good as the Berlin Philharmonic). Even Solti, not normally known for spirituality, was in exceptional form for his 1972 Decca recording, and his performance soars more truthfully and effortlessly than Karajan's.

Karajan's cast is strong overall, spearheaded by the weighty bass of Kurt Moll as Gurnemanz. Moll gives us a warmly, beautifully sung performance, solemn and moving in the great climaxes, but light years behind the incredible achievement of Hans Hotter on the 1962 Knappertsbusch set. José van Dam is the most beautiful, smooth, musical Amfortas on record, although he doesn't always realize the full dramatic potential of this moving character. Siegmund Nimsgern is a resonant but sometimes gritty Klingsor, and he never comes close to matching the menacing Hermann Uhde from Kna's 1951 Bayreuth set. Victor von Halem is a sonorous Titurel. Dunja Vejzovic is a very acceptable Kundry, secure of both voice and interpretation, but she never matches the magnificent singing of Solti's Ludwig in one of her finest recorded achievements. The huge weak link in the cast is, unfortunately, Parsifal himself. Peter Hofmann's dry, gritty, effortful singing and uninspired interpretation are unfortunate in the extreme. Hearing him immediately after the velvety richness of Jess Thomas or the honeyed beauty of Wolfgang Windgassen is almost laughable. The choral work is secure and beautiful, but isn't on the level of Solti's Vienna ensemble.

Overall, this performance captures the orchestral sound world of "Parsifal" more impressively and beautifully than any other. Unfortunately, the performance remains earthbound due to a lack of spontaneity, a preoccupation with the beautiful textures, and a flawed cast. It is undoubtedly a very impressive recording, but among studio recordings I prefer Solti's Vienna / Decca set, for its more involved cast (highlighted by Ludwig's fabulous Kundry), Solti's admirably sincere and communicative direction, and above all the overwhelming work from the Vienna State Opera ensemble. First choice overall remains the classic 1962 Knappertsbusch, for the most inspired conducting of the score on record, a flawless cast including Hotter's supreme Gurnemanz, dedicated ensemble work from the Bayreuth forces, and a very special atmosphere which permeates the entire effort, surely one of the three greatest Wagner recordings ever.

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