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Wagner - Parsifal Box set


Price: £34.40 & FREE Delivery in the UK. Details
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£34.40 & FREE Delivery in the UK. Details Only 1 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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Product details

  • Orchestra: Bayreuth Festival Orchestra
  • Conductor: Hans Knappertsbusch
  • Composer: Richard Wagner
  • Audio CD (1 Oct. 2007)
  • Number of Discs: 4
  • Format: Box set
  • Label: Orfeo
  • ASIN: B000UJC7WU
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 104,846 in Music (See Top 100 in Music)

1. Parsifal (47 tracks on 4 CD's) - Richard Wagner

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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.

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Most Helpful Customer Reviews

8 of 8 people found the following review helpful By D. S. CROWE TOP 500 REVIEWER on 15 Nov. 2012
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When one thinks of recordings of Parsifal, the name Knappertsbusch immediately springs to mind. Few conductors have established an almost immutable reputation as THE great interpreter of the work than Kna, and this despite his never having made a studio recording of the work! The "reference recording" for many is his 1962 Bayreuth recording, which among a plethora of recordings from many sources is the only one in stereo.
I remember buying the LP's and reading the "health warning" in the booklet that the tempi were extraordinarily slow, and the listener should prepare themselves for this. I never felt it was THAT slow, and in light of subsequent recordings by the likes of Goodall and Levine, it is almost fleet of foot!
I have always had slight reservations about its CD incarnations-Hotter's wobble really does grate on me, and the re-mastering has uncovered excess prompter and scene shifting noise which for example ruin for me the great transition passages at which Kna was sublime. The artistry is superb of course, with a cast that could scarcely be bettered-but it WAS and this can be heard on this outstanding release from Orfeo.
This is in fact the very last performance of Parsifal ever conducted by Kna, and it is fitting that it was in Bayreuth with a dream cast. The recording from BR Master Tapes is Mono only, but is extraordinarily detailed, and once the ears have adjusted is not markedly inferior to the Philips-indeed, the sound profile is more "solid", and the famous Bayreuth bells are thunderous in their impact.
There are surprises in store-in 1964, Kna `s interpretation had tightened up and moves forward with great drive-at times, it's positively fast, reminiscent of his approach to Bruckner! It is ALWAYS beautifully shaped and infused with intensity.
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1 of 1 people found the following review helpful By Ralph Moore TOP 50 REVIEWER on 18 Dec. 2013
Stewart Crowe's excellent review of this recording has covered the many reasons for its pre-eminence, so I will do little more than refer you to his critique and endorse his recommendation.

The main reason for preferring later recordings is, of course, that this is in mono. Good, clean, remarkably clear and detailed mono, it's true and one soon forgets any sonic limitations given the manifold attractions of this performance, but I can understand anyone wanting to hear this music in digitalised, studio stereo sound free of coughs and giving proper spacious amplitude and breadth to proceedings.

The other consideration centres upon personal responses to the Gurnemanz, veteran Hans Hotter. It is undoubtedly true that he is in more secure voice here than he was for the more celebrated Bayreuth performance under Kna two years earlier, perhaps because he was free that season from undertaking the other even more taxing role of Wotan, whose higher-lying tessitura aggravated the dreaded wobble which afflicted his voice by this stage of his career. Perhaps, too, even though the performances took place during an unprecedented heat-wave, his hay-fever was less troublesome than was sometimes the case, making his voice more hoarse and hollow. Whatever the case, he is here at his gravest, wisest and noblest - and steadiest, with just the occasional waver.

Otherwise, the cast is superlative, including debutant Jon Vickers as an ideally youthful and heroic Parsifal, Barbro Ericson as a coruscating Kundry with a telling lower register, Thomas Stewart filling George London's shoes as a deeply moving Amfortas, Heinz Hagenau - a great bass previously unknown to me - wonderfully trenchant as Titurel and Gustav Neidlinger a searing, black-voiced Klingsor.
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Perhaps the finest of all Parsifals - spiritually uplifting and sonically transcendent. Kna in peerless form in the Bayreuth pit bringing the best out of the players. The singing is as first rate as you would expect. If you own any Parsifal this is the one to have.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 3 reviews
1 of 1 people found the following review helpful
Kna's last stand - and a glorious one, too 18 Dec. 2013
By Ralph Moore - Published on Amazon.com
Stewart Crowe's excellent review of this recording on Amazon UK has covered the many reasons for its pre-eminence, so I will do little more than refer you to his critique and endorse his recommendation.

The main reason for preferring later recordings is, of course, that this is in mono. Good, clean, remarkably clear and detailed mono, it's true and one soon forgets any sonic limitations given the manifold attractions of this performance, but I can understand anyone wanting to hear this music in digitalised, studio stereo sound free of coughs and giving proper spacious amplitude and breadth to proceedings.

The other consideration centres upon personal responses to the Gurnemanz, veteran Hans Hotter. It is undoubtedly true that he is in more secure voice here than he was for the more celebrated Bayreuth performance under Kna two years earlier, perhaps because he was free that season from undertaking the other even more taxing role of Wotan, whose higher-lying tessitura aggravated the dreaded wobble which afflicted his voice by this stage of his career. Perhaps, too, even though the performances took place during an unprecedented heat-wave, his hay-fever was less troublesome than was sometimes the case, making his voice more hoarse and hollow. Whatever the case, he is here at his gravest, wisest and noblest - and steadiest, with just the occasional waver.

Otherwise, the cast is superlative, including debutant Jon Vickers as an ideally youthful and heroic Parsifal, Barbro Ericson as a coruscating Kundry with a telling lower register, Thomas Stewart filling George London's shoes as a deeply moving Amfortas, Heinz Hagenau - a great bass previously unknown to me - wonderfully trenchant as Titurel and Gustav Neidlinger a searing, black-voiced Klingsor.

Knappertsbusch's tempi are neither especially fast nor slow compared with other famous versions; I cannot fault his pacing and if anything he is often quite driven. He is ideally served by chorus and orchestra. I hesitate to say it, but to me this is clearly better than the widely acclaimed '62 live recording. My own favourite remains the Kubelik set with the incomparable Kurt Moll and a superb cast.
13 of 19 people found the following review helpful
Definitive version. 4 Oct. 2009
By Avery Gordon - Published on Amazon.com
Verified Purchase
Once you've heard this "Parsifal," all else pale in comparison. This is the one to own. It is transcendent, from the incomparable conducting and orchestra to the principals, particularly Jon Vickers, who, in my opinion, will never be topped in this role. This recording is truly a spiritual experience.
Parsifal, sung by a true heldentenor 22 Feb. 2015
By Theodore Shulman - Published on Amazon.com
Other exponents of the title role of PARSIFAL overshadow Jon Vickers for superior psychological insight and youthful sound (Jess Thomas) and for subtlety of interpretation (Wolfgang Windgassen), but for sheer vocal strength and heroic power Vickers stands in a league of his own. The high tessitura does not hinder him at all. Knappertsbusch, giving his last performance at Bayreuth, is great too! This is a must-hear performance, in spite of unremarkable deliveries from some of the lower voices (wobbly Hans Hotter and boring Thomas Stewart).
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