Tracklist: 00:00:00 Parsifal, WWV 111, Prelude to Act 1 00:10:12 Parsifal, WWV 111, Act 1: He! Ho! Waldhüter ihr (Gurnemanz/Second Knight) 00:15:01 Parsifal, WWV 111, Act 1: Seht dort die wilde Reiterin! (Second Esquire/First Esquire/Second Knight/Kundry/Gurnemanz) 00:17:38 Parsifal, WWV 111, Act 1: Recht so! Habt Dank! (Amfortas/Second Knight/Gurnemanz/Kundry) 00:23:42 Parsifal, WWV 111, Act 1: He, Du da! Was liegst du dort wie ein wildes Tier? (Third Esquire/Kundry/Fourth Esquire/Gurnemanz) 00:30:46 Parsifal, WWV 111, Act 1: O wunden-wundervoller heiliger Speer! (Gurnemanz/Third Esquire/First Esquire/Second Esquire) 00:34:23 Parsifal, WWV 111, Act 1: Titurel, der fromme Held (Gurnemanz) 00:42:33 Parsifal, WWV 111, Act 1: Vor allem nun: der Speer kehr’ uns zurück! (Fourth Esquire/Third Esquire/Gurnemanz/Knights and other Esquires) 00:45:18 Parsifal, WWV 111, Act 1: Weh’! Hoho! Auf! Wer ist der Frevler? (Knights and Esquires/Gurnemanz/Parsifal) 00:46:39 Parsifal, WWV 111, Act 1: Du konntest morden (Gurnemanz/Parsifal) 00:50:12 Parsifal, WWV 111, Act 1: Wo bist du her? (Gurnemanz/Parsifal) 00:53:19 Parsifal, WWV 111, Act 1: Den Vaterlosen gebar die Mutter (Kundry/Parsifal/Gurnemanz) 00:56:14 Parsifal, WWV 111, Act 1: So recht! So nach des Grales Gnade (Gurnemanz/Kundry) 00:58:34 Parsifal, WWV 111, Act 1: Vom Bade kehrt der König heim (Gurnemanz/Parsifal) 01:00:11 Parsifal, WWV 111, Act 1: Transformation Music 01:03:08 Parsifal, WWV 111, Act 1: Nun achte wohl und laß mich seh’n (Gurnemanz/Knights of the Grail/Voices of youths) 01:08:37 Parsifal, WWV 111, Act 1: Mein Sohn Amfortas, bist du am Amt? (Titurel/Amfortas) 01:10:44 Parsifal, WWV 111, Act 1: Enthüllet den Gral! (Titurel/Amfortas/Boys and youths/Knights) 01:19:04 Parsifal, WWV 111, Act 1: Nehmet hin meinen Leib, nehmet hin mein Blut (Voices from above/Boys’ voices from above//Titurel) 01:24:53 Parsifal, WWV 111, Act 1: Wein und Brot des letzten Mahles(Boys’ voices from above/Youths’ voices/Knights of the Holy Grail) 01:32:14 Parsifal, WWV 111, Act 1: Was stehst du noch da? (Gurnemanz/Voices) 01:34:32 Parsifal, WWV 111, Prelude to Act 2 01:25:59 Parsifal, WWV 111, Act 2: Die Zeit ist da (Klingsor) 01:38:33 Parsifal, WWV 111, Act 2: Erwachst du? Ha! Meinem Banne wieder verfallen (Klingsor) 01:39:57 Parsifal, WWV 111, Act 2: Ach! Ach! Tiefe Nacht... Wahnsinn... (Kundry/Klingsor) 01:43:17 Parsifal, WWV 111, Act 2: Furchtbare Not! So lacht nun der Teufel mein (Klingsor/Kundry) 01:46:30 Parsifal, WWV 111, Act 2: Jetzt schon erklimmt er die Burg (Klingsor/Kundry) 01:50:22 Parsifal, WWV 111, Act 2: Hier war das Tosen (Maidens/Parsifal) 01:52:09 Parsifal, WWV 111, Act 2: Ihr schönen Kinder (Parsifal/Maidens) 01:53:47 Parsifal, WWV 111, Act 2: Komm, komm! Holder Knabe! (Maidens/Parsifal) 01:57:24 Parsifal, WWV 111, Act 2: Parsifal! Weile! (Kundry/Parsifal/Maidens) 01:59:49 Parsifal, WWV 111, Act 2: Dies alles hab’ ich nun geträumt? (Parsifal/Kundry) 02:03:09 Parsifal, WWV 111, Act 2: Ich sah das Kind an seiner Mutter Brust (Kundry) 02:07:47 Parsifal, WWV 111, Act 2: Wehe! Wehe! Was tat ich? (Parsifal/Kundry) 02:12:36 Parsifal, WWV 111, Act 2: Amfortas! Die Wunde! (Parsifal/Kundry) 02:20:10 Parsifal, WWV 111, Act 2: Grausamer! Fühlst du im Herzen (Kundry) 02:26:03 Parsifal, WWV 111, Act 2: Auf Ewigkeit wärst du verdammt (Parsifal/Kundry) 02:31:14 Parsifal, WWV 111, Act 2: Vergeh, unseliges Weib! (Parsifal/Kundry/Klingsor) 02:32:48 Parsifal, WWV 111, Act 2: Mit diesem Zeichen bann’ ich deinen Zauber (Parsifal) 02:34:33 Parsifal, WWV 111, Prelude to Act 3 02:38:19 Parsifal, WWV 111, Act 3: Von dorther kam das Stöhnen (Gurnemanz) 02:41:49 Parsifal, WWV 111, Act 3: Du tolles Weib! Hast du kein Wort für mich? (Gurnemanz/Kundry) 02:44:55 Parsifal, WWV 111, Act 3: Wer nahet dort dem heil’gen Quell? (Gurnemanz) 02:52:19 Parsifal, WWV 111, Act 3: Heil mir, daß ich dich wieder finde! (Parsifal/Gurnemanz) 02:56:23 Parsifal, WWV 111, Act 3: O Herr! War es ein Fluch (Gurnemanz/Parsifal) 03:02:04 Parsifal, WWV 111, Act 3: Nicht so! Die heil’ge Quelle selbst (Gurnemanz/Parsifal) 03:05:29 Parsifal, WWV 111, Act 3: Du wuschest mir die Füße (Parsifal/Gurnemanz) 03:11:00 Parsifal, WWV 111, Act 3: Wie dünkt mich doch die Aue heut so schön (Parsifal/Gurnemanz) 03:13:38 Parsifal, WWV 111, Act 3: Du siehst, das ist nicht so (Gurnemanz/Parsifal) 03:19:08 Parsifal, WWV 111, Act 3: Mittag. Die Stund’ ist da (Gurnemanz) 03:22:30 Parsifal, WWV 111, Act 3: Geleiten wir im bergenden Schrein (Processions) 03:26:17 Parsifal, WWV 111, Act 3: Ja! Wehe! Wehe! Weh’ über mich! (Amfortas/Die Knights) 03:32:40 Parsifal, WWV 111, Act 3: Nur eine Waffe taugt (Parsifal) 03:36:16 Parsifal, WWV 111, Act 3: Höchsten Heiles Wunder! (All)
Please if you already have not, look for the Grail Message... In The Light Of Truth.... By Abdrushin.. Read it from the beginning to the end and discover Parzival and His Mission for the Present Times on earth. Im Licht der Wahrheit... GRALSBOTSCHAFT in German
I have no idea why but on first hearing this marvel of sound I was disappointed. I was expecting something like the ring. It seemed strange and uneventful and alot of the music quite dull. But that was around 30 years ago when I was 17. Since then this wonder of music has took root in my soul and grown and grown. And now I revere this work of art more than any other musical work. From the first note to last it fills me with complete glory. I'm not a Christian. I don't believe in jesus. But I do believe in God and as j s bach wrote in his Lutheran bible ' where there is devotional music God and his grace are always present. I feel his presence more in this work than in messiah by handel. When the last notes have died away I can only be grateful that such a man as Richard wagner lived and worked.
Dette værk er super smuk Jeg elsker Parsifal værket. Parsifal svarer til Jesus the Cristhus. I dette værk er : magik,psicologi,filosofi,astrologi,osv osv. Cosmiske hilsner.
I had this recording on CD for many years and always rated it highly. Wonderful to read many comments expressing the same opinion. What I greatly appreciate about this opera is there are many opportunities for the chorus, which Wagner always does well - an element almost entirely lacking in The Ring and Tristan, sadly. Twenty years ago I sang in the chorus of Parsifal at the Royal Albert Hall under Sir Simon Rattle. Overwhelming experience!
My favorite opera. Music takes you to Heaven. But there are no good productions anymore. All are avant garde night mares. So i will be content to listen on you tube and on my dvd player at home.
It's my favourite Wagner opera. I feel that it might be a problematic one to stage. I have seen several performances- one stands out as being hugely moving (it wasn't perfect, mind you) but at the end Amfortas died and Kundry (who had undergone a significant costume transformation through the three acts) led the kinghts along a path to serenity in those final, extraordinary bars of music. The sacred feminine.
I saw it in Sydney about 3 years ago. It was a concert performance, with Jonas kaufman, and it was wonderful! I was actually glad it wasn't staged, as i could concentrate on the music and singing without distraction. But i like Die Meistersingers best. Although I'd love to hear Rienzi. Not much chance of that, i suppose.
From what I've heard of "Rienzi", it doesn't sound much like Wagner. Jonas sang Parsifal at the Met in 2013, available on their DVD. Daniele Gatti conducted. Dalayman, Pape, and a remarkable portrayal of Amfortas by Mattei.
This is my favorite performance of Parsifal. I think all of the singers are perfect. I love these fast tempos. This is the most exciting, thrilling, and engaging performance I've heard. I also love all of the Knappertsbusch performances as well. But this is now my treasure.
Nice comment :) As someone who prefers a slower reading of Parsifal, this particular interpretation has really made an impression on me too, only just discovered it.
Wagner described "Parsifal" not as an opera, but as Ein Bühnenweihfestspiel ("A Festival Play for the Consecration of the Stage"). No matter what this means, it is certain that Persifal is not an opera, but rather a religious piece of music in some places. The impressive height of the artistic work of the opera and orchestra performers is to be appreciated.
No matter what it means : Bühnenweihfestspiel. I believe it , this term is so typical "eccentric queer odd" german-like or better to say : the complete works of Wagner : eccentric queer odd...outside Germany indeed difficult to explain what Bühnenweihfestspiel says... by the way, real excellent recording , best of the cast : the orchestra under the baton of Kegel.....but there is one miscast : Mr Kollo.
Parsifal,obra verdaderamente penetrante en todos los sentidos; realización culminante de Wagner; no deja de ser impactante que se refiriera a Parsifal como su "despedida del mundo".
"What is the secret of the Grail? Who does it serve?" I first encountered the overture music in the movie Excalibur, and have always meant to listen to the entire opera. Now after all these years I finally get to!
1:00:00 Yo pude volver a escuchar Parsifal completa otra vez y volvere a hacerlo muchas veces. Pero espero tambien tener la oportunidad de presenciarla en directo algún día. Se que eso será una realidad.
(Pour ma part, c était en 1981, la première écoute, l enregistrement de Karajan. Avec mes premiers petits sous d apprenti, sa couverture avait attiré mon regard, ce fond bleu et deux personnages, et tous ces lumignons au sol, alors bien qu à l époque la plupart des disquaires ne nous donnaient pas la possibilité d écouter avant d acheter, je suis reparti avec ce disque. Écouté des heures durant, Ce qui à l époque me vallu d être envoyée par ma mère chez un psy! 🙄! De réécouter cette oeuvre aujourd hui, à la Lumière des années passées. Avec plaisir. 💛
Ceci est plus qu’un opéra. Une œuvre d’art qui vient directement d’en Haut . Cette œuvre est incroyable .un plus qu’humain pouvait seul la concevoir La musique de Wagner est un poison dans le sens où elle éteint les autres musiques pour ces instants .
Liner Notes: Richard Wagner (1813-1883): Parsifal The stirring Celtic myths of King Arthur and his knights and the quest for the Grail have fascinated European writers from the Middle Ages onward. The publication of Cervantes’s novel Don Quixote in the early seventeenth century served to keep the idea of an age of chivalry alive, even though he poked gentle fun at it. In the nineteenth century two great artists were obsessed with these myths: the poet Alfred Tennyson naturally concentrated on them from an English angle, while the composer Richard Wagner came to them from the Teutonic viewpoint. Wagner’s primary source was the thirteenth-century poet Wolfram von Eschenbach, whose writings he encountered in 1845. Having toyed with the idea of creating an opera round the ‘holy fool’ Parsifal (also known as Parzival or Perceval), he ended up writing one about Parsifal’s son Lohengrin; and it was not until 1857 that he again started thinking seriously about the project, although he did consider introducing the character of Parsifal briefly into Tristan und Isolde. He wrote out a sketch (which is lost) for a three-act drama, and in 1865 he was able to give his patron King Ludwig II of Bavaria a fairly good impression of what the opera would be about. All this time, as he occupied himself with The Ring and Die Meistersinger, his concept of Parsifal was evolving, acquiring more and more layers of symbolism. For instance, Wolfram and other early writers were not too sure what the Grail actually was; but Wagner’s further reading drew him to the conviction held by later authors that it was the chalice used at the Last Supper and then employed by Joseph of Arimathea to catch the blood that flowed from the spear wound in the side of Christ on the Cross. The concept that the spear which plays a large part in the drama would be the very weapon with which the centurion Longinus inflicted that wound, was an even later discovery for him. Wagner wrote his libretto in the spring of 1877, in the knowledge that this would be his farewell to the stage, and began composing the music that August. Interestingly, the noble Prelude to Act I was sketched first, which shows that Wagner already had a complete vision of the interlocking motifs which would resound through the work, and it was performed under his direction in a concert at his Bayreuth house, Wahnfried, in 1878. By Christmas 1881, when he had promised to have the score of the opera ready for his wife Cosima to see, only a few pages remained to be orchestrated. Wagner conceived the work from the start in terms of his theatre at Bayreuth, where it was given its first sixteen performances under Hermann Levi’s baton in the summer festival of 1882. Only under his own close supervision, Wagner felt, could the deeply religious element of Parsifal be realised. Performance anywhere else was forbidden and even after Wagner’s death, his heirs banned any stage presentation until the copyright ran out in 1914. A production at the Metropolitan Opera, New York, in 1903 was seen by them and other Wagnerians as a betrayal. The Prelude and Good Friday Music, however, were quickly established in the concert hall. Parsifal has had no successors, although it clearly influenced Pfitzner’s Palestrina, and it remains, with its rapt religiosity, the most difficult of the Wagnerian music dramas to stage, especially in an increasingly sceptical and secular society. The preponderance of slow music and bass voices also makes it hard to bring off in the theatre. It is the ultimate challenge for a Wagnerian conductor, but it is full of beautiful music, especially in the harmonically rich third act, and it contains strikingly individual characters. Klingsor may be the archetypal villain and Parsifal the usual Wagnerian tenor, but Gurnemanz represents the epitome of operatic nobility, the tortured Amfortas is never forgotten, once seen, and in Kundry, with her intriguing dual nature, Wagner created his most exceptional female protagonist. The production enshrined in this live recording was one of the epoch-making theatrical events of the twentieth century. The new broom at Bayreuth in this first post-war season, the composer’s grandson Wieland Wagner, chose Parsifal, with its themes of purification and redemption, as the ideal vehicle for cleansing the Festspielhaus after the disgrace of the Third Reich, when Wagner’s music had been adopted by the Nazis and Hitler himself had been an honoured guest at Bayreuth. In keeping with this ethos of newness, Wieland swept away all the old-fashioned ideas of production and presented a stark, almost empty stage picture, sombrely lit. In such a simple setting, acting and characterisation assumed primary importance, so the singers were meticulously rehearsed in the psychological implications of their rôles. The production was revived countless times and its impact is still being felt today; but it was also momentous on the musical side, bringing forward such ‘new men’ as Windgassen, van Mill and London alongside established stars such as Mödl, Uhde and Weber. In charge of these wonderful singers and the handpicked chorus and orchestra was the craggy figure of Hans Knappertsbusch, who never did anything finer than this set, the first complete recording of Parsifal. Bayreuth that year was also a magnet for the record companies. EMI was there to record the Ninth Symphony under Furtwängler and Die Meistersinger under Karajan, while Decca was doing the first Ring cycle (of which only the last part was actually taped) and Parsifal. The engineer Kenneth Wilkinson made various experiments and finally slung a single microphone high up in the auditorium, blending the sound from that vantage point with the output from closer microphones. The result was a sound of immense atmosphere, helped by the famous cowl which at Bayreuth veiled the orchestra. The Festspielhaus, in which the singers could advance over the orchestra and therefore always be heard, played its part. The recording, with an almost ideal blend of warmth and clarity for its time, still sounds amazingly good; and the interpretation, edited by the producer John Culshaw from the general rehearsal and two performances, has stood the test of time.
I saw this live for the first time last night at the Bridgewater Hall in an Opera North production. Absolutely magnificent, spellbinding and very emotional. WOW... whatever one's views on Wagner, there is no denying his colossal influence on the history and development of Western Classical Music and even today's artists.
The Met in NYC used to perform this every spring or so with J Levine conducting at a glacial but purely ravishing pace, esp the finale, imho. No more...all gone. Last performance I saw, not w/Levine, had Act 2 in a pool of blood; then I called it quits with the Met. Sorry for the long post. But live done sincerely is the best with Wagner. It sinks inside and changes one...his music is different, a young conductor once told me.
Wagner nos remete às profundas reflexões sobre a vida e a morte. Pra quem não sabe, d Pedro II contribuiu financeiramente, enviando recursos para Richard Wagner ( v. Julio Medaglia). Ele estreou uma de suas óperas em homenagem ao imperador brasileiro.
I love this masterpiece. Wagner's last opera that isn't an opera. This is a fine performance and ranks alongside Kna's much slower 1951 Bayreuth performance which had the perfect cast.
Synopsis CD 1 [1] The Prelude to Act I establishes the sacred nature of what is to follow, making use of motifs associated with the Last Supper, including shorter elements connoting Salvation, the Wound and the Spear, heard at the opening. This leads to motifs of the Holy Grail, introduced by the trumpet, and of Faith, heard first from horns and trumpets. Act I [2] Gurnemanz, an older knight, and two young squires are asleep in the woods in the realm of the Holy Grail. They wake, pray and prepare for the bath of King Amfortas, to whose wounds the remedy brought by Gawan has given no comfort. There is only one who can bring any relief. [3] The wild-haired Kundry rides galloping in, dismounting to give Gurnemanz a salve for the King, before casting herself down on the ground in exhaustion. [4] Amfortas is carried in. He knows that only a pure fool, made wise by suffering, can cure him, accepts the salve that Kundry has brought and is carried towards the lake. [5] The young men wonder about Kundry, but Gurnemanz explains that she may be bewitched, but, at all events, her absence seems to bring misfortune. [6] He recalls how Amfortas had been attracted by the vision of a beautiful woman to the castle of Klingsor and how he had been wounded by the Spear that Klingsor had seized. [7] In a fuller account, he tells how Titurel had been given the task of guarding the Holy Grail, the chalice of the Last Supper, and the Spear that had pierced the side of Christ on the Cross and how Klingsor had tried to lure away the Knights of the Grail. Titurel had sent his son Amfortas to attack Klingsor, the cause of his present suffering. CD 2 [1] At this point a swan flutters down to the ground, shot by the young Parsifal, who is sorry for what he has done. [2] Questioned by Gurnemanz, he can only tell him that his mother was Herzeleide (Heart’s Sorrow) and that he had left her, following brightly dressed men he had seen. Kundry now tells him that this caused his mother’s death, and Parsifal has to be held back from harming her, in his anger. [3] Amfortas is seen being carried back to his castle, where Gurnemanz will lead Parsifal. Transformation Music allows for a change of scene from the wood to the castle and the temple of the Holy Grail. The bells of Monsalvat motif is heard, as the scene changes, while Gurnemanz and Parsifal walk towards the temple, with motifs of Sinner’s Torment and of the Spear. [4] Parsifal stands by the door of the shrine, watching what is happening, while the Knights of the Grail enter in procession and range themselves at tables on each side. They sing of this love-feast, a sacred rite performed each day, as Amfortas is carried in, preceded by squires bearing the covered Grail, which they set on a stone altar. [5] The voice of Titurel is heard, calling on Amfortas to unveil the Holy Grail, but he is in torment, suffering for his sin and for the wound that will never heal. He hopes for healing and for death. [6] Boys and young men recall the promise of an innocent fool, enlightened through suffering. Amfortas rises, with difficulty, and unveils the sacred chalice, which is lit with a light from Heaven. [7] He raises the chalice in blessing, and voices of boys are heard bidding them take the Body and Blood of Christ, as bread and wine is distributed to the company. [8] The boys now recall the Last Supper and the changing of bread and wine into the Body and Blood of Christ, and the whole company joins in the Feast of Love and of Brotherhood. In solemn procession they leave the hall, as Amfortas is carried out once more. [9] Parsifal, in spite of Gurnemanz’s summons, has taken no part in the ceremony, watching always and suffering finally with Amfortas. Gurnemanz shakes him and tells him to be gone, but a voice is heard declaring him to be the innocent fool made wise through suffering. CD 3 Act II [1] The scene is set in the castle of Klingsor, who sees in his magic glass the approach of the fool and tells Kundry, who is in his power, to deal with Parsifal as she did with Amfortas. [2] Kundry is unwilling, but is reminded that whoever resists her will break the spell that binds her. [3] In his glass Klingsor sees Parsifal enter the magic garden, using his sword to quell the opposition of Klingsor’s knights. Kundry, meanwhile, has made off, to do as she must. [4] In the garden Flower Maidens are heard lamenting the departure of their lovers. Parsifal gazes down at them in astonishment. [5] The Flower Maidens invite Parsifal to join them, playing around him and vying with one another for his attention. Parsifal rejects their blandishments, while admiring their beauty. [6] Kundry appears, now transformed into a beautiful woman, and calls Parsifal by his name. [7] She tells him of his father, the meaning of his name and of his mother’s sorrow and death. [8] He is drawn towards her and, [9] as she kisses him, feels the pain that had afflicted Amfortas and recoils in horror. [10] He resists all she can do to lure him and she curses him, calling out. [11] She seeks, through him, her own redemption. Klingsor appears and hurls at him the Spear, which remains suspended over Parsifal’s head. He seizes it, making with it the sign of the cross, at which the castle sinks and the garden withers, while Kundry sinks to the ground. Act III [12] The Prelude to Act III evokes the spirit of desolation that has fallen upon the realm of the Holy Grail in an opening motif from the first violins. A second motif represents the wandering of Parsifal in the time that has now elapsed between the second and third act. Finally he returns, to the sound of the Innocent Fool motif and the motif of the Spear. CD 4 [1] The scene is open country, in the realm of the Grail. It is early morning and Gurnemanz, now an old man, comes out of his hermit’s hut, hearing the sound of Kundry’s groans from the undergrowth. [2] She is now dressed as a penitent and he tries to revive her. Now she would only wish to serve him, but he tells her that now the Knights have to look to themselves, in their desolation and poverty. She sees someone approaching. It is Parsifal, dressed in black armour and appearing uncertain of himself. [3] Gurnemanz welcomes his guest, but tells him to lay down the spear he carries, for the place is holy and the day is Good Friday. Parsifal lays down his sword and shield, putting his spear in the ground. He takes off his helmet and kneels in prayer. [4] They recognise each other and Parsifal explains how, after all his wandering and suffering, he is seeking out the one whose suffering he once saw, bringing with him, unsullied, the Holy Spear. [5] Gurnemanz is astonished, but tells Parsifal that it was a curse that drove him to wander, while Amfortas, in his pain and despair, no longer performed his holy office, denying the Knights the comfort and sustenance that the Grail would bring and thus causing the death of Titurel. [6] Now finally Parsifal, who blames himself for all this, will be brought to Amfortas, purified by the holy spring water with which Kundry bathes his feet. [7] Gurnemanz anoints him with the holy water, greeting him as one who has reached enlightenment through suffering and now preparing him for the last revelation of the Grail that Amfortas has now promised. Parsifal performs his first duty by baptizing Kundry and looks around at the beauty of the countryside. Gurnemanz tells him that it is Good Friday, the fields and meadows now moist with holy dew and with the tears of penitents. He sings of the joy of creation and Parsifal, turning to Kundry, gently kisses her. [8] Bells announce midday and Gurnemanz dresses Parsifal in the mantle of a Knight of the Grail. Taking the Spear, Parsifal follows Gurnemanz, accompanied by Kundry, as the scene gradually changes from open country to rocks that open to reveal the temple of the Grail. [9] A procession of Knights bears in the Grail, with Amfortas, while another group carries in the body of Titurel, whose death is blamed on Amfortas and his sin. They bid him perform his office for the last time. [10] The coffin of Titurel, placed before the stone altar, is opened and Amfortas prays for his father’s help in bringing death to him and comfort to his Knights. They urge him to reveal the Grail, but he is unwilling, for the sight of the Grail will prevent his death and mean further unendurable pain. [11] Parsifal comes forward, holding aloft the Spear and then lightly touching Amfortas with it, for this alone can bring the relief that Amfortas craves. Approaching the altar, Parsifal takes the Grail, now shining with an unearthly light, and blesses those gathered there. A white dove descends on his head, Kundry sinks to the ground and Amfortas and Gurnemanz now kneel before him.
Не так чвсто выкладывают Вагнера на ютюб.Парсифаль сочинение,заставляющее размышлять о жизни и смерти.Оркестр,хор,арии великолепные.Спасибо за такую прекрасную запись.Буду слушать чвще.
last production from wagner,itmeans,represents the new difference,already in those days,he lived between christian faiths,prereserves already,the logical distances,between godsbelieves and others in so manipulating other ways holding,nver mind what and so came out in his works that he is the real most popular,so called,father of the rea,l era to where our most antic,musicalle,factly,comes from,thankx!!
Mankind has been dragged, kicking and screaming, through countless generations by a few genuine geniuses....We define ourselves by their accomplishments. As someone who recognizes his role as a witness, I will also testify to one other truth, avoid the consensus. Look to the outliers....
For all those, who are expecting with „Parsifal“ another continuation of the „Ring“: Wagner finished his last opera in 1882. The same year Brahms and Bruch launched their 3rd Symphonies. If you compare the final of „Parsifal“ (Wagner worked over 17 years on it) with the other works, mentioned above, you will discover a kind of evolution of the music to farewell the old century. Especcially in the end! The old-fashioned „Mountain“-Stile of Brahms and Bruch were aborted by Wagner to a new sound of „lost melody“ and transcendence of harmony and orchestration. (Choir „au dehors“) So I hope you to understand „Parsifal“ a little better as Wagners „9th Symphony“ and the door to the „New Age“ of music.
Das ist ein Beispiel grosser traditionsgerchter Wagner Aufführungspraxis. Bis heute beeindruckend. Der mystische Hintergrund nicht zerstört sondern zelebriert. Wie Wagner es gefreut hätte.
E esse cálice ? A música e fúnebre, passa um ar de tristeza , parece uma composição do autor Wagner em transe espiritual. Aumenta as notas logo no.inicio da composição, da ao meu ouvido esse sentido espiritual. Hélio Portela
@@JSheridanEntilZha haha, yeah, I was listening to a meditation, and some ads interrupted it. I couldn't believe it. What a test for one's meditation skills, though!
Прекрасная запись. Хотя темпы действительно очень быстрые. Последний спектакль в Wiener Staatsoper Philipp Jordan режиссера Серебрянникова за счет быстрых действий на сцене типа драки позволил при общем умеренном темпе дать прекрасный эффект как Gesamtkunstwerk. Это было потрясающе!
Thank you for posting this music!Well....I finally got to see it (I love Fliegende Holländer, Tristan, much of Walküre, concept of Rhinegold, all of Götterdämmerung - and parts of Paris Tannhäuser). Moments of intense beauty and transformation. But, confused nonsense text (some confused Christian tropes, Buddhism + philosophy) that adds up to nothing. The ending music was irrelevant to me because I had given up on it adding up to a big idea that satisfied me intellectually...I didn't grasp the dénouement/resolution RW intends.
A Parsifal for the ears, not for the spirit, swift tempi chosen by maestro Kegel left the work devoid of any sense of mystical trascendence, just listen to Act I Transformation Music or Good Friday Spell
My great, great great grandmother was married to Wagner, she was Wilhelmine "Minna" Planer and I have her hand written diaries. He wrote a song for her, I have the score.
@@thatswhatisaid8908 Off course I'm not angry. I am not a Karajan discible. But regarding Parsifal and Die Meistersinger, I think that he is the master.
![Megan Thee Stallion - Neva Play (feat. RM) [Official Video]](http://i.ytimg.com/vi/TpYTyAaTRts/mqdefault.jpg)
Tracklist:
00:00:00 Parsifal, WWV 111, Prelude to Act 1
00:10:12 Parsifal, WWV 111, Act 1: He! Ho! Waldhüter ihr (Gurnemanz/Second Knight)
00:15:01 Parsifal, WWV 111, Act 1: Seht dort die wilde Reiterin! (Second Esquire/First Esquire/Second Knight/Kundry/Gurnemanz)
00:17:38 Parsifal, WWV 111, Act 1: Recht so! Habt Dank! (Amfortas/Second Knight/Gurnemanz/Kundry)
00:23:42 Parsifal, WWV 111, Act 1: He, Du da! Was liegst du dort wie ein wildes Tier? (Third Esquire/Kundry/Fourth Esquire/Gurnemanz)
00:30:46 Parsifal, WWV 111, Act 1: O wunden-wundervoller heiliger Speer! (Gurnemanz/Third Esquire/First Esquire/Second Esquire)
00:34:23 Parsifal, WWV 111, Act 1: Titurel, der fromme Held (Gurnemanz)
00:42:33 Parsifal, WWV 111, Act 1: Vor allem nun: der Speer kehr’ uns zurück! (Fourth Esquire/Third Esquire/Gurnemanz/Knights and other Esquires)
00:45:18 Parsifal, WWV 111, Act 1: Weh’! Hoho! Auf! Wer ist der Frevler? (Knights and Esquires/Gurnemanz/Parsifal)
00:46:39 Parsifal, WWV 111, Act 1: Du konntest morden (Gurnemanz/Parsifal)
00:50:12 Parsifal, WWV 111, Act 1: Wo bist du her? (Gurnemanz/Parsifal)
00:53:19 Parsifal, WWV 111, Act 1: Den Vaterlosen gebar die Mutter (Kundry/Parsifal/Gurnemanz)
00:56:14 Parsifal, WWV 111, Act 1: So recht! So nach des Grales Gnade (Gurnemanz/Kundry)
00:58:34 Parsifal, WWV 111, Act 1: Vom Bade kehrt der König heim (Gurnemanz/Parsifal)
01:00:11 Parsifal, WWV 111, Act 1: Transformation Music
01:03:08 Parsifal, WWV 111, Act 1: Nun achte wohl und laß mich seh’n (Gurnemanz/Knights of the Grail/Voices of youths)
01:08:37 Parsifal, WWV 111, Act 1: Mein Sohn Amfortas, bist du am Amt? (Titurel/Amfortas)
01:10:44 Parsifal, WWV 111, Act 1: Enthüllet den Gral! (Titurel/Amfortas/Boys and youths/Knights)
01:19:04 Parsifal, WWV 111, Act 1: Nehmet hin meinen Leib, nehmet hin mein Blut (Voices from above/Boys’ voices from above//Titurel)
01:24:53 Parsifal, WWV 111, Act 1: Wein und Brot des letzten Mahles(Boys’ voices from above/Youths’ voices/Knights of the Holy Grail)
01:32:14 Parsifal, WWV 111, Act 1: Was stehst du noch da? (Gurnemanz/Voices)
01:34:32 Parsifal, WWV 111, Prelude to Act 2
01:25:59 Parsifal, WWV 111, Act 2: Die Zeit ist da (Klingsor)
01:38:33 Parsifal, WWV 111, Act 2: Erwachst du? Ha! Meinem Banne wieder verfallen (Klingsor)
01:39:57 Parsifal, WWV 111, Act 2: Ach! Ach! Tiefe Nacht... Wahnsinn... (Kundry/Klingsor)
01:43:17 Parsifal, WWV 111, Act 2: Furchtbare Not! So lacht nun der Teufel mein (Klingsor/Kundry)
01:46:30 Parsifal, WWV 111, Act 2: Jetzt schon erklimmt er die Burg (Klingsor/Kundry)
01:50:22 Parsifal, WWV 111, Act 2: Hier war das Tosen (Maidens/Parsifal)
01:52:09 Parsifal, WWV 111, Act 2: Ihr schönen Kinder (Parsifal/Maidens)
01:53:47 Parsifal, WWV 111, Act 2: Komm, komm! Holder Knabe! (Maidens/Parsifal)
01:57:24 Parsifal, WWV 111, Act 2: Parsifal! Weile! (Kundry/Parsifal/Maidens)
01:59:49 Parsifal, WWV 111, Act 2: Dies alles hab’ ich nun geträumt? (Parsifal/Kundry)
02:03:09 Parsifal, WWV 111, Act 2: Ich sah das Kind an seiner Mutter Brust (Kundry)
02:07:47 Parsifal, WWV 111, Act 2: Wehe! Wehe! Was tat ich? (Parsifal/Kundry)
02:12:36 Parsifal, WWV 111, Act 2: Amfortas! Die Wunde! (Parsifal/Kundry)
02:20:10 Parsifal, WWV 111, Act 2: Grausamer! Fühlst du im Herzen (Kundry)
02:26:03 Parsifal, WWV 111, Act 2: Auf Ewigkeit wärst du verdammt (Parsifal/Kundry)
02:31:14 Parsifal, WWV 111, Act 2: Vergeh, unseliges Weib! (Parsifal/Kundry/Klingsor)
02:32:48 Parsifal, WWV 111, Act 2: Mit diesem Zeichen bann’ ich deinen Zauber (Parsifal)
02:34:33 Parsifal, WWV 111, Prelude to Act 3
02:38:19 Parsifal, WWV 111, Act 3: Von dorther kam das Stöhnen (Gurnemanz)
02:41:49 Parsifal, WWV 111, Act 3: Du tolles Weib! Hast du kein Wort für mich? (Gurnemanz/Kundry)
02:44:55 Parsifal, WWV 111, Act 3: Wer nahet dort dem heil’gen Quell? (Gurnemanz)
02:52:19 Parsifal, WWV 111, Act 3: Heil mir, daß ich dich wieder finde! (Parsifal/Gurnemanz)
02:56:23 Parsifal, WWV 111, Act 3: O Herr! War es ein Fluch (Gurnemanz/Parsifal)
03:02:04 Parsifal, WWV 111, Act 3: Nicht so! Die heil’ge Quelle selbst (Gurnemanz/Parsifal)
03:05:29 Parsifal, WWV 111, Act 3: Du wuschest mir die Füße (Parsifal/Gurnemanz)
03:11:00 Parsifal, WWV 111, Act 3: Wie dünkt mich doch die Aue heut so schön (Parsifal/Gurnemanz)
03:13:38 Parsifal, WWV 111, Act 3: Du siehst, das ist nicht so (Gurnemanz/Parsifal)
03:19:08 Parsifal, WWV 111, Act 3: Mittag. Die Stund’ ist da (Gurnemanz)
03:22:30 Parsifal, WWV 111, Act 3: Geleiten wir im bergenden Schrein (Processions)
03:26:17 Parsifal, WWV 111, Act 3: Ja! Wehe! Wehe! Weh’ über mich! (Amfortas/Die Knights)
03:32:40 Parsifal, WWV 111, Act 3: Nur eine Waffe taugt (Parsifal)
03:36:16 Parsifal, WWV 111, Act 3: Höchsten Heiles Wunder! (All)
Brilliant Classics uAAA
Bril
Brilliant Classics 😉
QÑyyy6yyyy6yyyyyy6byh
Che vuoi?
I was never the same after I first heard this opera. Something deep in my soul, very spiritual
Please if you already have not, look for the Grail Message... In The Light Of Truth.... By Abdrushin..
Read it from the beginning to the end and discover Parzival and His Mission for the Present Times on earth.
Im Licht der Wahrheit... GRALSBOTSCHAFT in German
It's the kind of opera that grows on you.
Same for me Jon
For me the same...
I feel same too, my beloved Parsifal...I prefer more the perfomance of 1951 by Knappertsbusch. Parsifal is a sacred music drama.
I can't think of a more sublime start to Good Friday than listening to this at the crack of dawn.
I have no idea why but on first hearing this marvel of sound I was disappointed. I was expecting something like the ring. It seemed strange and uneventful and alot of the music quite dull. But that was around 30 years ago when I was 17. Since then this wonder of music has took root in my soul and grown and grown. And now I revere this work of art more than any other musical work. From the first note to last it fills me with complete glory. I'm not a Christian. I don't believe in jesus. But I do believe in God and as j s bach wrote in his Lutheran bible ' where there is devotional music God and his grace are always present. I feel his presence more in this work than in messiah by handel. When the last notes have died away I can only be grateful that such a man as Richard wagner lived and worked.
Gnosis
And, after decades, some artists don't understand ( don't feel) this music. Unbelievable.
Dette værk er super smuk
Jeg elsker Parsifal værket.
Parsifal svarer til Jesus the Cristhus.
I dette værk er : magik,psicologi,filosofi,astrologi,osv osv.
Cosmiske hilsner.
Primera vez que la escucho, cumpliendo mis 60 añitos.
BENDICIONES
I had this recording on CD for many years and always rated it highly. Wonderful to read many comments expressing the same opinion. What I greatly appreciate about this opera is there are many opportunities for the chorus, which Wagner always does well - an element almost entirely lacking in The Ring and Tristan, sadly. Twenty years ago I sang in the chorus of Parsifal at the Royal Albert Hall under Sir Simon Rattle. Overwhelming experience!
You should listen Meistersinger :)
My favorite opera. Music takes you to Heaven. But there are no good productions anymore. All are avant garde night mares. So i will be content to listen on you tube and on my dvd player at home.
It's my favourite Wagner opera. I feel that it might be a problematic one to stage. I have seen several performances- one stands out as being hugely moving (it wasn't perfect, mind you) but at the end Amfortas died and Kundry (who had undergone a significant costume transformation through the three acts) led the kinghts along a path to serenity in those final, extraordinary bars of music. The sacred feminine.
I saw it in Sydney about 3 years ago. It was a concert performance, with Jonas kaufman, and it was wonderful! I was actually glad it wasn't staged, as i could concentrate on the music and singing without distraction. But i like Die Meistersingers best. Although I'd love to hear Rienzi. Not much chance of that, i suppose.
Wagner a beautiful sound
From what I've heard of "Rienzi", it doesn't sound much like Wagner. Jonas sang Parsifal at the Met in 2013, available on their DVD. Daniele Gatti conducted. Dalayman, Pape, and a remarkable portrayal of Amfortas by Mattei.
This is my favorite performance of Parsifal. I think all of the singers are perfect. I love these fast tempos. This is the most exciting, thrilling, and engaging performance I've heard. I also love all of the Knappertsbusch performances as well. But this is now my treasure.
Nice comment :) As someone who prefers a slower reading of Parsifal, this particular interpretation has really made an impression on me too, only just discovered it.
I agree. Many of these singers I had not heard of, but they give very good performances indeed. And wonderful to hear Rene Kollo in his prime.
I've read that Wagner often complained of his operas being played too slowly.
Wagner described "Parsifal" not as an opera, but as Ein Bühnenweihfestspiel ("A Festival Play for the Consecration of the Stage"). No matter what this means, it is certain that Persifal is not an opera, but rather a religious piece of music in some places. The impressive height of the artistic work of the opera and orchestra performers is to be appreciated.
I consider all of Wagners work to be religious, once you're a Pagan, all of your peoples behavior becomes religious.
No matter what it means : Bühnenweihfestspiel. I believe it , this term is so typical "eccentric queer odd" german-like or better to say : the complete works of Wagner : eccentric queer odd...outside Germany indeed difficult to explain what Bühnenweihfestspiel says... by the way, real excellent recording , best of the cast : the orchestra under the baton of Kegel.....but there is one miscast : Mr Kollo.
This piece conjures up different emotions, sadness, joy and passion. Absolutely beautiful!
Parsifal,obra verdaderamente penetrante en todos los sentidos; realización culminante de Wagner; no deja de ser impactante que se refiriera a Parsifal como su "despedida del mundo".
"What is the secret of the Grail? Who does it serve?"
I first encountered the overture music in the movie Excalibur, and have always meant to listen to the entire opera. Now after all these years I finally get to!
The finale is ethereal loveliness, truly inspiring and uplifting music.
1:00:00 Yo pude volver a escuchar Parsifal completa otra vez y volvere a hacerlo muchas veces. Pero espero tambien tener la oportunidad de presenciarla en directo algún día. Se que eso será una realidad.
(Pour ma part, c était en 1981, la première écoute, l enregistrement de Karajan. Avec mes premiers petits sous d apprenti, sa couverture avait attiré mon regard, ce fond bleu et deux personnages, et tous ces lumignons au sol, alors bien qu à l époque la plupart des disquaires ne nous donnaient pas la possibilité d écouter avant d acheter, je suis reparti avec ce disque.
Écouté des heures durant,
Ce qui à l époque me vallu d être envoyée par ma mère chez un psy!
🙄!
De réécouter cette oeuvre aujourd hui, à la Lumière des années passées.
Avec plaisir. 💛
0:01 - 1:03:53/... 💛
J'ai découvert Tannhaüser à mes 18 ans.
Puis les autres opéras
Mais Parsifal reste mon préféré
C'est ta mère, comme la mienne, qui aurait dû consulter !!!
Ceci est plus qu’un opéra. Une œuvre d’art qui vient directement d’en Haut .
Cette œuvre est incroyable .un plus qu’humain pouvait seul la concevoir
La musique de Wagner est un poison dans le sens où elle éteint les autres musiques pour ces instants .
Liner Notes:
Richard Wagner (1813-1883): Parsifal
The stirring Celtic myths of King Arthur and his knights and the quest for the Grail have fascinated European writers from the Middle Ages onward. The publication of Cervantes’s novel Don Quixote in the early seventeenth century served to keep the idea of an age of chivalry alive, even though he poked gentle fun at it. In the nineteenth century two great artists were obsessed with these myths: the poet Alfred Tennyson naturally concentrated on them from an English angle, while the composer Richard Wagner came to them from the Teutonic viewpoint. Wagner’s primary source was the thirteenth-century poet Wolfram von Eschenbach, whose writings he encountered in 1845. Having toyed with the idea of creating an opera round the ‘holy fool’ Parsifal (also known as Parzival or Perceval), he ended up writing one about Parsifal’s son Lohengrin; and it was not until 1857 that he again started thinking seriously about the project, although he did consider introducing the character of Parsifal briefly into Tristan und Isolde. He wrote out a sketch (which is lost) for a three-act drama, and in 1865 he was able to give his patron King Ludwig II of Bavaria a fairly good impression of what the opera would be about. All this time, as he occupied himself with The Ring and Die Meistersinger, his concept of Parsifal was evolving, acquiring more and more layers of symbolism. For instance, Wolfram and other early writers were not too sure what the Grail actually was; but Wagner’s further reading drew him to the conviction held by later authors that it was the chalice used at the Last Supper and then employed by Joseph of Arimathea to catch the blood that flowed from the spear wound in the side of Christ on the Cross. The concept that the spear which plays a large part in the drama would be the very weapon with which the centurion Longinus inflicted that wound, was an even later discovery for him.
Wagner wrote his libretto in the spring of 1877, in the knowledge that this would be his farewell to the stage, and began composing the music that August. Interestingly, the noble Prelude to Act I was sketched first, which shows that Wagner already had a complete vision of the interlocking motifs which would resound through the work, and it was performed under his direction in a concert at his Bayreuth house, Wahnfried, in 1878. By Christmas 1881, when he had promised to have the score of the opera ready for his wife Cosima to see, only a few pages remained to be orchestrated. Wagner conceived the work from the start in terms of his theatre at Bayreuth, where it was given its first sixteen performances under Hermann Levi’s baton in the summer festival of 1882. Only under his own close supervision, Wagner felt, could the deeply religious element of Parsifal be realised. Performance anywhere else was forbidden and even after Wagner’s death, his heirs banned any stage presentation until the copyright ran out in 1914. A production at the Metropolitan Opera, New York, in 1903 was seen by them and other Wagnerians as a betrayal. The Prelude and Good Friday Music, however, were quickly established in the concert hall. Parsifal has had no successors, although it clearly influenced Pfitzner’s Palestrina, and it remains, with its rapt religiosity, the most difficult of the Wagnerian music dramas to stage, especially in an increasingly sceptical and secular society. The preponderance of slow music and bass voices also makes it hard to bring off in the theatre. It is the ultimate challenge for a Wagnerian conductor, but it is full of beautiful music, especially in the harmonically rich third act, and it contains strikingly individual characters. Klingsor may be the archetypal villain and Parsifal the usual Wagnerian tenor, but Gurnemanz represents the epitome of operatic nobility, the tortured Amfortas is never forgotten, once seen, and in Kundry, with her intriguing dual nature, Wagner created his most exceptional female protagonist.
The production enshrined in this live recording was one of the epoch-making theatrical events of the twentieth century. The new broom at Bayreuth in this first post-war season, the composer’s grandson Wieland Wagner, chose Parsifal, with its themes of purification and redemption, as the ideal vehicle for cleansing the Festspielhaus after the disgrace of the Third Reich, when Wagner’s music had been adopted by the Nazis and Hitler himself had been an honoured guest at Bayreuth. In keeping with this ethos of newness, Wieland swept away all the old-fashioned ideas of production and presented a stark, almost empty stage picture, sombrely lit. In such a simple setting, acting and characterisation assumed primary importance, so the singers were meticulously rehearsed in the psychological implications of their rôles. The production was revived countless times and its impact is still being felt today; but it was also momentous on the musical side, bringing forward such ‘new men’ as Windgassen, van Mill and London alongside established stars such as Mödl, Uhde and Weber. In charge of these wonderful singers and the handpicked chorus and orchestra was the craggy figure of Hans Knappertsbusch, who never did anything finer than this set, the first complete recording of Parsifal. Bayreuth that year was also a magnet for the record companies. EMI was there to record the Ninth Symphony under Furtwängler and Die Meistersinger under Karajan, while Decca was doing the first Ring cycle (of which only the last part was actually taped) and Parsifal. The engineer Kenneth Wilkinson made various experiments and finally slung a single microphone high up in the auditorium, blending the sound from that vantage point with the output from closer microphones. The result was a sound of immense atmosphere, helped by the famous cowl which at Bayreuth veiled the orchestra. The Festspielhaus, in which the singers could advance over the orchestra and therefore always be heard, played its part. The recording, with an almost ideal blend of warmth and clarity for its time, still sounds amazingly good; and the interpretation, edited by the producer John Culshaw from the general rehearsal and two performances, has stood the test of time.
I saw this live for the first time last night at the Bridgewater Hall in an Opera North production. Absolutely magnificent, spellbinding and very emotional. WOW... whatever one's views on Wagner, there is no denying his colossal influence on the history and development of Western Classical Music and even today's artists.
I was there too, and saw it at Leeds Grand the week before. I don't think I ever really "got" Wagner until now! Wasn't the chorus superb!!
@@richardsmith8094 Absolutely.
The Met in NYC used to perform this every spring or so with J Levine conducting at a glacial but purely ravishing pace, esp the finale, imho. No more...all gone. Last performance I saw, not w/Levine, had Act 2 in a pool of blood; then I called it quits with the Met. Sorry for the long post. But live done sincerely is the best with Wagner. It sinks inside and changes one...his music is different, a young conductor once told me.
Wagner nos remete às profundas reflexões sobre a vida e a morte. Pra quem não sabe, d Pedro II contribuiu financeiramente, enviando recursos para Richard Wagner ( v. Julio Medaglia). Ele estreou uma de suas óperas em homenagem ao imperador brasileiro.
From the volk, many thanks.
bem lembrado amigo.
Most beautiful, a magificent Parsifal. Thank You
I love this masterpiece. Wagner's last opera that isn't an opera. This is a fine performance and ranks alongside Kna's much slower 1951 Bayreuth performance which had the perfect cast.
Mucha fuerza,mucha energia..Desde Lima Peru. Es un festival escenico sacro..Toda una obra de arte.
Saludos, paisano. espero algún día la representen en el GTN de Lima. espero vivir para verlo jejej.
Great performance, thanks for making this available on RUclips. One of my favourite Parsifals.
Wow! Schröter as Kundry! Thank you.
Never listened to that ending with the choir and stuff, really beautiful!
Wagner's last completed opera! Thank you!
Synopsis
CD 1
[1] The Prelude to Act I establishes the sacred nature of what is to follow, making use of motifs associated with the Last Supper, including shorter elements connoting Salvation, the Wound and the Spear, heard at the opening. This leads to motifs of the Holy Grail, introduced by the trumpet, and of Faith, heard first from horns and trumpets.
Act I [2] Gurnemanz, an older knight, and two young squires are asleep in the woods in the realm of the Holy Grail. They wake, pray and prepare for the bath of King Amfortas, to whose wounds the remedy brought by Gawan has given no comfort. There is only one who can bring any relief. [3] The wild-haired Kundry rides galloping in, dismounting to give Gurnemanz a salve for the King, before casting herself down on the ground in exhaustion. [4] Amfortas is carried in. He knows that only a pure fool, made wise by suffering, can cure him, accepts the salve that Kundry has brought and is carried towards the lake. [5] The young men wonder about Kundry, but Gurnemanz explains that she may be bewitched, but, at all events, her absence seems to bring misfortune. [6] He recalls how Amfortas had been attracted by the vision of a beautiful woman to the castle of Klingsor and how he had been wounded by the Spear that Klingsor had seized. [7] In a fuller account, he tells how Titurel had been given the task of guarding the Holy Grail, the chalice of the Last Supper, and the Spear that had pierced the side of Christ on the Cross and how Klingsor had tried to lure away the Knights of the Grail. Titurel had sent his son Amfortas to attack Klingsor, the cause of his present suffering.
CD 2
[1] At this point a swan flutters down to the ground, shot by the young Parsifal, who is sorry for what he has done. [2] Questioned by Gurnemanz, he can only tell him that his mother was Herzeleide (Heart’s Sorrow) and that he had left her, following brightly dressed men he had seen. Kundry now tells him that this caused his mother’s death, and Parsifal has to be held back from harming her, in his anger.
[3] Amfortas is seen being carried back to his castle, where Gurnemanz will lead Parsifal. Transformation Music allows for a change of scene from the wood to the castle and the temple of the Holy Grail. The bells of Monsalvat motif is heard, as the scene changes, while Gurnemanz and Parsifal walk towards the temple, with motifs of Sinner’s Torment and of the Spear.
[4] Parsifal stands by the door of the shrine, watching what is happening, while the Knights of the Grail enter in procession and range themselves at tables on each side. They sing of this love-feast, a sacred rite performed each day, as Amfortas is carried in, preceded by squires bearing the covered Grail, which they set on a stone altar.
[5] The voice of Titurel is heard, calling on Amfortas to unveil the Holy Grail, but he is in torment, suffering for his sin and for the wound that will never heal. He hopes for healing and for death.
[6] Boys and young men recall the promise of an innocent fool, enlightened through suffering. Amfortas rises, with difficulty, and unveils the sacred chalice, which is lit with a light from Heaven. [7] He raises the chalice in blessing, and voices of boys are heard bidding them take the Body and Blood of Christ, as bread and wine is distributed to the company.
[8] The boys now recall the Last Supper and the changing of bread and wine into the Body and Blood of Christ, and the whole company joins in the Feast of Love and of Brotherhood. In solemn procession they leave the hall, as Amfortas is carried out once more.
[9] Parsifal, in spite of Gurnemanz’s summons, has taken no part in the ceremony, watching always and suffering finally with Amfortas. Gurnemanz shakes him and tells him to be gone, but a voice is heard declaring him to be the innocent fool made wise through suffering.
CD 3
Act II [1] The scene is set in the castle of Klingsor, who sees in his magic glass the approach of the fool and tells Kundry, who is in his power, to deal with Parsifal as she did with Amfortas. [2] Kundry is unwilling, but is reminded that whoever resists her will break the spell that binds her. [3] In his glass Klingsor sees Parsifal enter the magic garden, using his sword to quell the opposition of Klingsor’s knights. Kundry, meanwhile, has made off, to do as she must.
[4] In the garden Flower Maidens are heard lamenting the departure of their lovers. Parsifal gazes down at them in astonishment. [5] The Flower Maidens invite Parsifal to join them, playing around him and vying with one another for his attention. Parsifal rejects their blandishments, while admiring their beauty. [6] Kundry appears, now transformed into a beautiful woman, and calls Parsifal by his name. [7] She tells him of his father, the meaning of his name and of his mother’s sorrow and death. [8] He is drawn towards her and, [9] as she kisses him, feels the pain that had afflicted Amfortas and recoils in horror. [10] He resists all she can do to lure him and she curses him, calling out. [11] She seeks, through him, her own redemption. Klingsor appears and hurls at him the Spear, which remains suspended over Parsifal’s head. He seizes it, making with it the sign of the cross, at which the castle sinks and the garden withers, while Kundry sinks to the ground.
Act III [12] The Prelude to Act III evokes the spirit of desolation that has fallen upon the realm of the Holy Grail in an opening motif from the first violins. A second motif represents the wandering of Parsifal in the time that has now elapsed between the second and third act. Finally he returns, to the sound of the Innocent Fool motif and the motif of the Spear.
CD 4
[1] The scene is open country, in the realm of the Grail. It is early morning and Gurnemanz, now an old man, comes out of his hermit’s hut, hearing the sound of Kundry’s groans from the undergrowth. [2] She is now dressed as a penitent and he tries to revive her. Now she would only wish to serve him, but he tells her that now the Knights have to look to themselves, in their desolation and poverty. She sees someone approaching. It is Parsifal, dressed in black armour and appearing uncertain of himself. [3] Gurnemanz welcomes his guest, but tells him to lay down the spear he carries, for the place is holy and the day is Good Friday. Parsifal lays down his sword and shield, putting his spear in the ground. He takes off his helmet and kneels in prayer.
[4] They recognise each other and Parsifal explains how, after all his wandering and suffering, he is seeking out the one whose suffering he once saw, bringing with him, unsullied, the Holy Spear.
[5] Gurnemanz is astonished, but tells Parsifal that it was a curse that drove him to wander, while Amfortas, in his pain and despair, no longer performed his holy office, denying the Knights the comfort and sustenance that the Grail would bring and thus causing the death of Titurel. [6] Now finally Parsifal, who blames himself for all this, will be brought to Amfortas, purified by the holy spring water with which Kundry bathes his feet.
[7] Gurnemanz anoints him with the holy water, greeting him as one who has reached enlightenment through suffering and now preparing him for the last revelation of the Grail that Amfortas has now promised. Parsifal performs his first duty by baptizing Kundry and looks around at the beauty of the countryside. Gurnemanz tells him that it is Good Friday, the fields and meadows now moist with holy dew and with the tears of penitents. He sings of the joy of creation and Parsifal, turning to Kundry, gently kisses her.
[8] Bells announce midday and Gurnemanz dresses Parsifal in the mantle of a Knight of the Grail. Taking the Spear, Parsifal follows Gurnemanz, accompanied by Kundry, as the scene gradually changes from open country to rocks that open to reveal the temple of the Grail.
[9] A procession of Knights bears in the Grail, with Amfortas, while another group carries in the body of Titurel, whose death is blamed on Amfortas and his sin. They bid him perform his office for the last time.
[10] The coffin of Titurel, placed before the stone altar, is opened and Amfortas prays for his father’s help in bringing death to him and comfort to his Knights. They urge him to reveal the Grail, but he is unwilling, for the sight of the Grail will prevent his death and mean further unendurable pain.
[11] Parsifal comes forward, holding aloft the Spear and then lightly touching Amfortas with it, for this alone can bring the relief that Amfortas craves. Approaching the altar, Parsifal takes the Grail, now shining with an unearthly light, and blesses those gathered there. A white dove descends on his head, Kundry sinks to the ground and Amfortas and Gurnemanz now kneel before him.
Brilliant Classics cada vez mejor, adelante!!!
The Rundfunkchor Leipzig was great! One of the best. Karajan said it too.
Не так чвсто выкладывают Вагнера на ютюб.Парсифаль сочинение,заставляющее размышлять о жизни и смерти.Оркестр,хор,арии великолепные.Спасибо за такую прекрасную запись.Буду слушать чвще.
Sencillamente sublime. Gracias mil
Chega doer o coração de emoção!!!
Concordo Marilene :)
Que deslumbramento ouvir sobre a inspiração que Wagner teve ao escrever essa simbólica opera" Parsifal"
de fato
last production from wagner,itmeans,represents the new difference,already in those days,he lived between christian faiths,prereserves already,the logical distances,between godsbelieves and others in so manipulating other ways holding,nver mind what and so came out in his works that he is the real most popular,so called,father of the rea,l era to where our most antic,musicalle,factly,comes from,thankx!!
Mankind has been dragged, kicking and screaming, through countless generations by a few genuine geniuses....We define ourselves by their accomplishments. As someone who recognizes his role as a witness, I will also testify to one other truth, avoid the consensus. Look to the outliers....
That Good Friday Scene was amazing
Wonderful performance💫💫💫🎼💙🎼💙🎼💙🎼🎼💙💙💙I am impressed🎶🎶🎶🍀💁
Wonderful , what a talent Parsifal Wagner Absolutely brilliant. ❤
3:11:00 This melody is so heavenly
For all those, who are expecting with „Parsifal“ another continuation of the „Ring“:
Wagner finished his last opera in 1882. The same year Brahms and Bruch launched their 3rd Symphonies. If you compare the final of „Parsifal“ (Wagner worked over 17 years on it) with the other works, mentioned above, you will discover a kind of evolution of the music to farewell the old century.
Especcially in the end!
The old-fashioned „Mountain“-Stile of Brahms and Bruch were aborted by Wagner to a new sound of „lost melody“ and transcendence of harmony and orchestration. (Choir „au dehors“)
So I hope you to understand „Parsifal“ a little better as Wagners „9th Symphony“ and the door to the „New Age“ of music.
Vielen Dank, Du gute Seele! Vorzügliche Musik, hier lässt man gern die Seele baumeln.
Seele baumeln? Ein unsäglicher Ausdruck für eine solch hohe Musik!
Certainly one of the best recording of this extraordinary and unforgetteable opus.
Sehr Wunderschön 🤌🏻
Most touching music art I ever heard
Gracias a RUclips por esta música, es maravillosa 😅🎉❤
Muchas gracias por tan magnífico presente y estupenda versión
❤ mil gracias
I need the whole opera. the overture is mind blowing from a master
Gloriuos music from a skillful composer.
Das ist ein Beispiel grosser traditionsgerchter Wagner Aufführungspraxis. Bis heute beeindruckend. Der mystische Hintergrund nicht zerstört sondern zelebriert. Wie Wagner es gefreut hätte.
1:25:00 So beautiful!
I ordered it as soon as I finished listening to it. Thank you.
magnificent! thank you!
Samael Aún Weor interpreta como ninguno está obra maravillosa! En su obra el Parsifal
Solo él.S.A.W.podia por mandato divina.Develar su Prodigioso Misterio ❤
“Wagner es un artista que emplea una noción
del tiempo que se encuentra en las antípodas del mundo contemporáneo” (Badiou, 2013, p. 8).
This is soooo darkly beautiful....🖤🩶🦇
E esse cálice ? A música e fúnebre, passa um ar de tristeza , parece uma composição do autor Wagner em transe espiritual. Aumenta as notas logo no.inicio da composição, da ao meu ouvido esse sentido espiritual. Hélio Portela
Belo testemunho.
Danke Wagner what a talent ❤❤
An extremely objective fast reading. An interesting alternative to more introspective performances
Thank you so much.
Eternal. Let's listen to real music, fellows.
Tu de la foto , qui ets , ets cantant de la flauta magica ,
Profoundly moving, wonderful movement 💯
The ending of this opera is what Heaven sounds like.
One of the greatest nights of my life was watching the opera while enduring a rather intense LSD trip. I had a real spiritual experience.
That's exactly what I thought the first time I heard it.
And adds interruptions are reminder of hell💀
@@JSheridanEntilZha haha, yeah, I was listening to a meditation, and some ads interrupted it. I couldn't believe it. What a test for one's meditation skills, though!
This was my first Parsifal recording. I now have Karajan, Barenboim, and Knappertsbusch 1962 studio recording.
Muy bien lograda remasterización de la grabación original de 1975. El primer acto es excelso.
Excellent. Real magic.
Прекрасная запись. Хотя темпы действительно очень быстрые. Последний спектакль в Wiener Staatsoper Philipp Jordan режиссера Серебрянникова за счет быстрых действий на сцене типа драки позволил при общем умеренном темпе дать прекрасный эффект как Gesamtkunstwerk. Это было потрясающе!
Need to listen to it at x8 speed... Would make a good Metal song.
Excelente la versión de Kegel y a un precio muy asequible. Ojalá Brilliant siga en esta línea: hay muchos tesoros ocultos.
Merci beaucoup 🥰💜👆
Vielen dank, aus Frankreich ❤❤❤
"A stellar cast" indeed......BRAVI TUTTI......from Mexico City!
Leonard Bernstein: “You can’t seek to expel Wagner from your heart by kneeling before him”
Brilliant!
The first time I heard this was when I watched Excalibur. The beginning is the part when Percival starts to drown and finally finds the grail.
Ulrik Cold (Gurnemanz): No baritone - a deep voice. He is the Sarastro in Ingmar Bergmans "Magic Flute". U. Cold also sang King Marke in "Tristan".
In "The Magic Flute," Ulrik Cold is shown studying the score of "Parsifal."
Wunderbar
Bravo, Kollo.
26:38, 30:00
Гениальная опера!!!!❤
1:02:00 I love it!
Happy Birthday, #RichardWagner210! 🎉🥳🎈🎂
100 years today. Happy radio day!
Thank you for posting this music!Well....I finally got to see it (I love Fliegende Holländer, Tristan, much of Walküre, concept of Rhinegold, all of Götterdämmerung - and parts of Paris Tannhäuser). Moments of intense beauty and transformation. But, confused nonsense text (some confused Christian tropes, Buddhism + philosophy) that adds up to nothing. The ending music was irrelevant to me because I had given up on it adding up to a big idea that satisfied me intellectually...I didn't grasp the dénouement/resolution RW intends.
3:22:00 So menacing!
AMAZINGGGG!!!!!
Intensa!! No la conocía!!
1:27:30 Communion
A Parsifal for the ears, not for the spirit, swift tempi chosen by maestro Kegel left the work devoid of any sense of mystical trascendence, just listen to Act I Transformation Music or Good Friday Spell
This work was finished by the composer in 1882 while he was staying in Palermo, Sicily.
I came from The Tin Drum of Günter Grass! Salutes!
Mein Beileid.
4:25 I love this
Gorgeous
Premiered on this day (26 July) in 1882 at Bayreuth 🌹🌹🌹
24:54
1:02:00 SO EPIC
My great, great great grandmother was married to Wagner, she was Wilhelmine "Minna" Planer and I have her hand written diaries. He wrote a song for her, I have the score.
En realidad? Sí es así es fascinante. Por cierto Parsifal interpretado por Knappertsbusch creo es más ideal.
I am a friend of slow tempo. When I heard Karajans (from about 1979), I first thought it strange, but realized that it was right. Pain takes time.
Don't be angry, but i have always thought HVK made many pieces of music sound like an elephant trying to climb over a tennis ball.
@@thatswhatisaid8908 Off course I'm not angry. I am not a Karajan discible. But regarding Parsifal and Die Meistersinger, I think that he is the master.
DANKE ❤
c'est magnifique
Parsifal in under 4 Hours? Who thought it possible...
It feels like it's on speed dial. I adore Parsifal, but I'll stick with Solti and Knappersbusch!