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Wagner : Parsifal
Herbert Kegel
Opera - Released August 12, 2008 | Brilliant Classics
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5 de Diapason
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Parsifal, Act 3: Nur eine Waffe taugt (Live)
Lars Cleveman
Opera - Released April 15, 2022 | Sterling
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Wagner: Le vaisseau fantôme (Diapason n°615)
George London
Opera - Released June 28, 2013 | Les Indispensables de Diapason
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Wagner: Parsifal Suite (Constr. A. Gourlay)
Andrew Gourlay
Classical - Released November 4, 2022 | Orchid Classics
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In this world-premiere recording, Andrew Gourlay conducts the London Philharmonic Orchestra in his new Parsifal-Suite, a finely-wrought concert piece consisting of instrumental music from Wagner’s Parsifal. The Prelude and Good Friday Music are regularly performed separately from Parsifal, but Andrew Gourlay wanted to "give us more time to settle into the music". As he puts it, "Wagner uses the preludes in such a magical way to settle us into the mood of an opera" so that "we feel like we’re at the beginning of a long-haul journey". The Prelude alone cuts short that journey, so Gourlay has sought to encapsulate Parsifal’s main elements in a seamless suite. In keeping with the fluidity of Wagner’s score, Gourlay has carefully selected the order of the excerpts so that they flow into one another without breaks, using "the tiniest tweaks to allow the instrumentation to connect". The result is a sumptuous 45-minute work that allows Wagner’s exquisite music to be enjoyed in a new way. © Orchid Classics
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Bruckner: Symphonies Nos. 6 & 9 – Wagner: Siegfried Idyll / Parsifal Prelude
Andris Nelsons
Classical - Released May 3, 2019 | Deutsche Grammophon (DG)
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Andris Nelsons has emerged as one of the top conductors of big late Romantic repertory, and his cycle of Bruckner symphonies has contained some gems. Here, he pairs the Symphony No. 6 in A major, with the gigantic Symphony No. 9 in D minor, where the composer strove for the heights of Beethoven's Ninth, but didn't quite make it: he died before completing the work. Many completions have been offered, but Nelsons here performs only the first three movements, as completed by the composer before his death. In this case, the Adagio lives up to its "feierlich" (ceremonial, festive) marking despite its 24-plus minutes of slow movement, making for a satisfying finale. Nelsons' Symphony No. 9 in general is quite a strong one, and a good deal of the pleasure is down to the expertise of the venerable Gewandhaus Orchestra of Leipzig, which all around ranks among Europe's best. The brass execute flawlessly in the mighty fanfares of the Symphony No. 9, and they're matched by the strings in Wagner's Siegfried Idyll, and the Prelude to Parsifal. Sample the Siegfried Idyll for an example of central European orchestral playing at its absolute best. The Symphony No. 6 in A major is not quite as successful, although the orchestra's talents are undimmed. It's hard to get "feierlich" out of his slower-than-normal, rather lugubrious Adagio (the corresponding movement in the Symphony No. 9 is not so slow), and a sense of the larger line so crucial to Bruckner is lost. In general, however, this is a major release for Brucknerites, with Deutsche Grammophon, as with other releases in this series, furnishing excellent sound from the Gewandhaus.© TiVo
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Wagner: Parsifal, WWV 111
Martha Modl
Opera - Released June 2, 2023 | Profil Edition Guenter Haenssler
Booklet
The production of Wagner's overgrown Grail tale Parsifal from the shrine at Bayreuth, directed by the composer's grandson Wieland and first staged in 1951, was famously spare in its design; the conductor, Hans Knappertsbusch ("Kna," to perfect Wagnerites), thought the sets were still to be constructed and was chagrined to find that there really were very few. Vocally, however, the music was luxuriant. By the time of this 1955 live recording, most of the singers, including Martha Mödl as Kundry, were veterans of the production, and there was a strong newcomer, baritone Dietrich Fischer-Dieskau as Amfortas, already with his characteristic honeyed tone. The production was recorded in the studio in 1951, with somewhat better sound than on this release, but really, the live sound is impressive for 1955 (some of the credit should go to Hänssler Classic's remastering), and text intelligibility is great. Further, Knappertsbusch is known to have preferred live performance to recording, and the production benefits from a good deal of forward motion; sample around and compare timings with other recordings, for almost everywhere, Knappertsbusch comes in faster than average. Yet the music never feels rushed in any way. Of course, several generations of Wagner singers have come and gone since this recording was made, but for those wanting to experience Wagner "from the source," this may be a prime choice despite its age.
© James Manheim /TiVo
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Parsifal
Netherlands Radio Philharmonic Orchestra
Classical - Released May 29, 2011 | Challenge Classics
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On My New Piano
Daniel Barenboim
Classical - Released November 4, 2016 | Deutsche Grammophon (DG)
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Daniel Barenboim's new piano is not just any new piano, but one he worked to build from scratch, with Belgian piano maker Chris Maene, inspired by a piano owned by Liszt that sounded distinctly unlike modern Steinways. It differs from the usual models in various respects, most notably in that its strings do not cross, and while it's not a shocking departure it is most definitely something new. For this, Barenboim deserves credit, and so too do Deutsche Grammophon's engineers, who, working in Berlin's Teldex Studio, capture Barenboim's display of the piano's capabilities in full color. The instrument is unusually brilliant on top, and unusually clear on the bottom. Sample the Beethoven 32 Variations in C minor on an original theme, WoO 80 -- an excellent pick -- for a sort of demonstration of how the instrument sounds in different registers and textures. The opening three sonatas by Domenico Scarlatti are rather odd -- sort of as if a fortepiano were used to play Chopin -- but they certainly live up to the goal of promoting the piano as a major technological advance. The program ends with big Romantic showpieces: a Chopin ballade, a Wagner transcription, and the Liszt that is requisite to establishing the piano's credibility, and it passes with flying colors in all three, with a ringing, clear upper register. It's hard to say whether Barenboim will succeed in breaking Steinway's near monopoly with his new piano, but give the album a listen and you won't dismiss the idea out of hand.© TiVo
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Anton Bruckner: Symphony No. 3 "Wagner" - Richard Wagner: Parsifal (Kundry's Aria), Tristan und Isolde (Prelude & Liebestod)
Hans Knappertsbusch
Symphonies - Released July 1, 2017 | Praga Digitals
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Booklet
![Bayreuth Festival Orchestra Wagner: Siegfried, WWV 86C & Parsifal, WWV 111 (Excerpts) [Live]](https://static.qobuz.com/images/covers/ib/fs/i061raloqfsib_100.jpg)
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Wagner: Siegfried, WWV 86C & Parsifal, WWV 111 (Excerpts) [Live]
Bayreuth Festival Orchestra
Opera - Released February 4, 2022 | Profil
Booklet
The recordings here by Martha Mödl from 1955 document not only her impeccable rendering of the German, but also her singular singing status. She started out as a mezzo-soprano, but in 1949, with her first Kundry, she switched to the vocal range midway between mezzo and dramatic soprano, and in March 1952 she sang her first Brünnhilde. She was there from the very start in Neubayreuth: From 1951 to 1955, Mödl sang Kundry in all of the Parsifal performances and only began alternating with Astrid Varnay from 1956. She was also cast in the Ring from 1951, first as Gutrune and the Third Norn, and from 1953 also as Brünnhilde and in 1954 as Sieglinde as well. There, too, she alternated with Varnay, who had been performing almost without pause as Brünnhilde since 1951. Mödl sang Isolde in 1952 and 1953. To the director Wieland Wagner she was a “high dramatic soprano free of pathos”. He valued the way her “voice, personality and performance formed an absolutely inseparable whole”. Her stage presence can no longer be experienced through the recordings, but the vocal penetration of the roles can be. © Profil
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Bruckner : Symphony No. 9 - Wagner : Parsifal (Excerpts)
Daniele Gatti
Classical - Released November 29, 2019 | Royal Concertgebouw Orchestra
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The Wagner Project
Matthias Goerne
Classical - Released November 24, 2017 | harmonia mundi
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Wagner: Parsifal Orchestral Suite, Ballet Scene from Tannhauser & Prelude to Act III of Lohengrin
Neeme Järvi
Symphonies - Released May 1, 2010 | Chandos
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Most of the familiar orchestral versions of Richard Wagner's operatic music were arranged either by him or his followers in the 19th century, so the Overture and Venusberg Music from Tannhäuser and the Prelude to Act III from Lohengrin have long been performed in these special concert formats. But the main work of this SACD is the 1993 suite arranged by Henk de Vlieger, Parsifal, an Orchestral Quest, which is a fresh adaptation of the key moments from Wagner's final music drama. The work was commissioned by the Netherlands Radio Philharmonic Orchestra, after de Vlieger, the ensemble's percussionist, had successfully arranged music from Wagner's Der Ring des Nibelungen into a similar orchestral vehicle for them. Parsifal, an Orchestral Quest was premiered on RCA in 1997 by Edo de Waart, and Neeme Järvi leads the second recorded performance on this 2010 release on Chandos. Since the music is faithfully adapted from the original score and arranged into a coherent instrumental version that still communicates the broad outlines of the drama, there is little to debate over de Vlieger's choices, and Järvi's performance with the Royal Scottish National Orchestra is fully satisfying. This album provides a balanced program of Wagner's orchestral music, from the somber meditations of Parsifal to the lascivious passions of the bacchanalia from Tannhäuser and the stirring emotions in the Prelude to Act III from Lohengrin, so listeners can expect a captivating listening experience that may also inspire them to seek out the full operas.
© TiVo
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Wagner Overtures and Preludes
Andrés Orozco-Estrada
Classical - Released August 30, 2019 | Sony Classical - Sony Music
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Leading the Frankfurt Radio orchestra, the hr-Sinfonie Orchester, conductor Andrés Orozco-Estrada is performing and recording the great repertoire of symphonic music. His 100% Wagner programme brings together a selection of overtures and preludes. No singing: just orchestral music. Siegfried is absent here, as is the Tetralogia, along with the preludes from the third acts of Parsifal and Lohengrin. But as a whole, the record – a single disc, unlike Marek Janowski's double album for PentaTone – is well-put together.Heading the German outfit, Orozco-Estrada blazes a new path among the operas of the great Builder of Bayreuth. The programme moves through the pieces in chronological order of composition. The Flying Dutchman starts the proceedings, followed by Lohengrin and Tristan and Isolde forms a bridge to the high point that is Parsifal. Then the clock turns back, as Tannhäuser leads us on at last to Rienzi. It's a daring move to finish on this work from Wagner's youth! That said, the listener will recognise the value of this precious overture. Of course, in the middle of the score, the rolling snare drums herald the rather pompous tone of the final military march, punctuated with cymbal crashes. But that shouldn't overshadow the passages of great beauty which recall – and come on, you've just listened to it – Tannhäuser, in particular the combination of the choral pilgrims' motif against a barrage of strings.The Flying Dutchman, the first work to break with opera in the same manner as Meyerbeer, greets us in medias res, in Wagner's dramatic laboratory, where wonderful worlds are born. Impeccable brass and agile strings, an interplay of finely-balanced volumes, structures and textures: the orchestra buffets the Dutchman, sets Lohengrin aflame, rumbles around Tannhäuser and demonstrates how these pages contain all the ingredients – thematic, dramatic, lyrical – of the drama, in embryo. We will wait faithfully for a complete Wagner with these superb musicians in the pit! © Elsa Siffert/Qobuz
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Wagner: Parsifal - Good Friday Spell & Symphonic Synthesis Act III
Houston Symphony Orchestra
Classical - Released October 6, 2017 | Everest
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Wagner: Parsifal (Orchestral Music)
Eugene Ormandy
Classical - Released March 5, 1956 | Sony Classical
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Wagner: Parsifal - Good Friday Spell & Symphonic Synthesis Act III
Houston Symphony Orchestra
Classical - Released October 6, 2017 | Everest
Booklet
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Liszt, Wagner & Brahms: Les Préludes - Parsifal - Tristan und Isolde, Act III - 21 Hungarian Dances
San Francisco Symphony
Classical - Released May 25, 2022 | Altair
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Berlioz, Wagner, Mozart, Handel & Weber: Roman Carnival, Overture - Parsifal - Act I Transformation Music - Siegfried Idyll - Le Nozze di Figaro, Overture - Eine Kleine Nachtmusik - Concerto Grosso In B Minor
Bruno Walter
Classical - Released December 17, 2021 | Infinity
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J.S. Bach: Clavichord
András Schiff
Solo Piano - Released January 27, 2023 | ECM New Series
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Booklet
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Diapason d'or
It took András Schiff over 40 years to acquire his first clavichord, but the long wait was worth it. His love for the harpsichord's ‘little sister’ began in the late 1960s, when Schiff met the English pianist, organist, composer and conductor Georg Malcolm: ‘He showed me how to play Bach's polyphony with my fingers alone, without using the sustain pedal’.Unlike the harpsichord or piano, a note (string) played on the clavichord resonates for as long as the key is held down. As a result, playing this instrument is unique in that you can influence the sound even after a key has been struck, allowing for techniques such as vibrato.Historically, the clavichord was widely used as a practice instrument and a composition aid, and it was often only played in front of small groups. This doesn’t detract from its importance and significance, however, as evidenced by its frequent use by composers such as Bach.András Schiff takes to this intimate, personal instrument to offer recordings which— together with those of Friedrich Gulda or Gustav Leonhardt—constitute one of the rare complete recordings of Bach's keyboard music for clavichord. He performs the Inventions, Sinfonias, Chromatic Fantasia and Fugue BWV 903, among others, with dedication and precision, and he’s not afraid to put his own mark on the music. Schiff tends to be less known for his historical performances, but he astonishes here with an impressive recording in which he remains true to himself and to Bach. © Lena Germann/Qobuz
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