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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

Rundfunk-Sinfonieorchester Leipzig

Opera - Released January 1, 1978 | Eterna

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Wagner: Parsifal, WWV 111

Martha Modl

Opera - Released June 2, 2023 | Profil Edition Guenter Haenssler

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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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Felix Mendelssohn Bartholdy: Symphonies Nos. 4 & 5 - Richard Wagner: Parsifal, Prelude

Arturo Toscanini

Symphonies - Released August 1, 2016 | Praga Digitals

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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 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 (Orchestral Music)

Eugene Ormandy

Classical - Released March 5, 1956 | Sony Classical

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Wagner: Parsifal by Hans Knappertsbusch

Hans Knappertsbusch

Opera - Released February 8, 2023 | Alexandre Bak - Classical Music Reference Recording

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Wagner: Parsifal, WWV 111

Hans Knappertsbusch

Opera - Released July 26, 2007 | Orfeo

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Wagner: Parsifal

Evgeny Nikitin

Opera - Released February 1, 2012 | PentaTone

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Parsifal is the second installment in Pentatone's ambitious project to record Wagner's ten important operas between in 2011 and 2013 in celebration of the bicentennial of his birth, featuring live concert performances with Marek Janowski leading Rundfunk-Sinfonieorchester Berlin and Rundfunkchor Berlin. Janowski is an old hand at Wagner, having conducted the first (and very fine) digital recording of The Ring, and he brings a sure understanding and unified conception to Parsifal. One of its most immediately noticeable characteristics is its urgency, which essentially means faster tempos. His version at three and three-quarters hours is nearly a half hour shorter than classic recordings like Knappertsbusch's 1951 Bayreuth version and Solti's Decca release. What's gained is a momentum and sense of dramatic movement in an opera that's notorious for bogged-down performances. It also has the effect of making the opera seem more personal, even intimate at moments, because the momentum gives the dialogue between characters such immediacy. Janowski is sensitive to allowing the music plenty of space to unfold where it calls for evoking a timeless expansiveness, such as the scenes in the Hall of the Grail. The orchestra and chorus perform with seamless assurance and with a velvety sensuality. Janowski keeps textures transparent so that details of the scoring are easily audible, and that transparency also contributes to the intimacy of his reading. The exemplary vocal performances are uniformly very fine, and the singers bring an acute sense of drama to their roles and their interactions The recording is blessed with a wealth of expressive, resonant, tonally sumptuous, and clearly differentiated low voices, including Evgeny Nikitin as Amfortas, Dimitry Ivashchenko as Titurel, Franz-Josef Selig as Gurnemanz, and Eike Wilm Schulte as Klingsor. Christian Elsner is a passionate Parsifal and his ringing tenor is heroic and robust. As Kundry, Michelle DeYoung sings with warmth and poignancy and is especially effective in her rich lower register. The sound of the hybrid multichannel SACD is immaculate and spacious.© TiVo
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Wagner : Parsifal

Herbert von Karajan

Classical - Released January 1, 1981 | Deutsche Grammophon (DG)

Distinctions Gramophone Record of the Year
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Wagner : Parsifal

Herbert Kegel

Opera - Released August 12, 2008 | Brilliant Classics

Distinctions 5 de Diapason
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Wagner: Parsifal, Sacred Festival Drama in Three Acts

Hans Knappertsbusch

Opera - Released October 29, 2021 | Alexandre Bak - Classical Music Reference Recording

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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: 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