Richard Wagner: Parsifal
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Music CD Cover Composer: Richard Wagner Conductor: Herbert von Karajan Edition: Music CD CD Release Date: 1990-10-25 Music Label: Deutsche Grammophon Soundtracks: Music CD 1
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Free Music Notes for Richard Wagner: Parsifal Album
Free Music Review: Karajan's studio recording of 'Parsifal'
Hit: 4 Stars
This excellent recording of Wagner's last music-drama was made in Berlin during 1979-80. Earlier Karajan had been acclaimed for his stage production of this work at the Staatsoper in Vienna, a performance of which the only evidence remaining is a fascinating but incomplete and technically inadequate recording (currently available both from Opera d'Oro and from RCA). This 1980 studio recording presents Karajan's view of the work from two decades later, with arguably the best cast that could be assembled at that date.As in the Vienna live recording, Karajan emphasises the beauty of the score, sometimes at the expense of the drama. Every line of every role is sung lyrically, even where a straightforward reading of the score would be more dramatic and less lyrical (for example, the response of the knights to Gurnemanz at the start of the first act, or Klingsor's summoning of his zombies at the end of the first scene of act 2).
Kurt Moll is a robust Gurnemanz and van Dam, although a little restrained, is probably the best Amfortas on record. Unfortunately Hofmann's voice already shows signs of its imminent decline. Vejzovic is unsteady, and her long scene towards the end of the second act is a damp squib compared with the vocal fireworks displayed by Christa Ludwig in the 1961 live recording. Nimsgern is a competent Klingsor, but in keeping with this production, his account of this dramatic role is strangely undramatic.
The principals are well supported, with Hanna Schwarz in the tiny role of the Voice from Above, and several then young singers who are today well-known names, as squires or magic maidens.
Karajan allows the orchestra to get rather too loud, relative to the singers, in some passages, such as the flowermaidens scene. Kundry's 'Ich helfe nie', in the first act, is inaudible, and even at the climax of the work, Parsifal is overwhelmed by a wave of orchestral sound as he sings 'Amfortas, die Wunde!'. I find balance to be a problem with Karajan's studio recordings in general; compare this recording with the Viennese *live* recording, where the singers are closely miked and the orchestra sounds distant.
Tempi are similar to those adopted by Solti; those who find both recordings too slow (as I do) might prefer the recording conducted by Armin Jordan and released in 1983, now available either on CD or as the sound-track to Syberberg's film, which is slightly faster. Even though he never gets as slow as Levine or Goodall, Karajan's broad tempi in the second act do not help the singers, and the necessary tension is lacking in the struggle between Kundry and Parsifal.