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Wagner: Parsifal (DECCA The Originals) Box set, Live, Original recording remastered


Price: £19.92 & FREE Delivery in the UK on orders over £20. Details
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£19.92 & FREE Delivery in the UK on orders over £20. Details Only 2 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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Product details

  • Audio CD (11 Sept. 2006)
  • SPARS Code: ADD
  • Number of Discs: 4
  • Format: Box set, Live, Original recording remastered
  • Label: Decca (UMO)
  • ASIN: B000FVHGZG
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Bestsellers Rank: 146,042 in Music (See Top 100 in Music)

1. Parsifal (44 Tracks On 3 Discs) - Richard Wagner

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

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Most Helpful Customer Reviews

33 of 35 people found the following review helpful By Klingsor Tristan VINE VOICE on 8 Nov. 2007
Format: Audio CD
How do you pick among the apparently ever-growing list of Knappertsbusch readings of this opera from Bayreuth? Knappertsbusch practically owned the Grail Domain at Bayreuth through the 50s and the first half of the 60s. It was his favourite venue, where he could work, unseen by the audience, in his shirtsleeves under the unique Bayreuth hood that hid him from sight. Any or all of his performances (and more and more of them seem to pop up on disc all the time) are worth hearing.

This one from 1962 sits high on the list. There is a magnificent Gurnemanz from the great Hans Hotter, an impressive Amfortas from Thomas Stewart and a truly malign Klingsor from Neidlinger. Jess Thomas could be a very good actor on stage (I've never seen a Walther who looked more as though he was making up his Prize Song as he went along in Sachs's workshop in Act 3 of Meistersinger). The voice, though, could be a bit tight in its production for my taste. The weak link, and a crucial one, in this performance was Irene Dalis. She's just not a patch on the white-hot Marha Modl in Kna's 1951 performance.

Ah yes. There's the rub. That 1951 performance is something very special. Wagner did not call Parsifal an opera: he called it a Stage Dedication Play. And, at the festival that re-opened Bayreuth after the War, that's exactly what Kanppertsbusch gave us. Even slower speeds, even more intense concentration. And with a cast that always matches, often betters that of '62.

The one thing this recording does have over that older one is the sound, the most accurate representation you'll hear in your living room of the unique Bayreuth sound. And remember, this was the one piece that Wagner wrote with the experience of that sound in his mind. For that as well as for a great (though not the greatest) interpretation, this recording is well worth trying.
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3 of 4 people found the following review helpful By Ralph Moore TOP 50 REVIEWER on 27 May 2014
Format: Audio CD
Having just reviewed the live recording Knapperstbusch's last, 1964 Bayreuth performance. I wanted to return to this more celebrated version to test whether my reactions were the same as when I first listened to it so many years ago.

I find that I am now much more tolerant of things about it which once irked me: the intrusive coughing - which somewhat abates after the Prelude but nonetheless is a feature throughout - and the supposed obtrusiveness of Hotter's infamous wobble. I have to say that although I still maintain that Hotter was, surprisingly, in better voice two years later (for reasons I suggest in my review) he is by no means markedly inferior here and brings the same gravitas and spirituality to his assumption of Gurnemanz.

Others have complained about Knappertsbusch's leisurely tempo. Well, timings for 1964 and 1962 are virtually identical and compared with other famous accounts, Kna's is squarely in the middle: much slower than Krauss and Boulez and considerably faster than Levine or Karajan; I find his pacing ideal and have no quarrel with his grasp of the work's architecture.

In 1964, he has the possible advantage of Jon Vickers' debut as the eponymous hero but Jess Thomas here assumes one of his finest roles deploying his strong, clear tenor to marvellous effect - so nothing either way there. Surprisingly, Heinz Hagenau is the equal of Martti Talvela as Titurel and both Irene Dalis and Barbro Ericson are terrific as Kundry. Although George London's career was prematurely over by 1964, his replacement, Thomas Stewart, was no slouch as Amfortas and thus both singers take the palm for their strikingly vivid and beautiful singing as the suffering king. Finally, Gustav Neidlinger repeats his searing Klingsor.
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3 of 6 people found the following review helpful By Alan on 27 Sept. 2014
Format: Audio CD
This version is well and truly overrated.
There's an absolutely incredible amount of coughing and spluttering from the audience.
This totally spoils the whole experience on all levels.
Go for the Solti or Barenboim version - only think of buying this if you like the bygone sound of a GP's waiting room in winter.
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