# Good Parsifal on YouTube?



## daco (Jan 5, 2021)

Hi,

(I posted this in the main forum, but it was suggested that I might get more answers here)

My teenage son has been asked by a music teacher to listen to some of Parsifal. I'm going to listen too, and I think this will go better if we are watching a performance as opposed to simply listening to a recording.

Is there a good performance on YouTube for us to watch? It doesn't need to be complete, I think. Excerpts or highlights would be fine for these purposes.

A pointer to highlights within a performance might also be helpful. I suspect that he is going to have a tough time sitting through 4+ hours of Wagner is his first exposure to opera. And I'm not sure that I will do well with that either!


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## vincula (Jun 23, 2020)

Hans Knappertsbusch ´62 in good SQ:






Or another classic. His rendition from ´51. Very good SQ too:






Regards,

Vincula


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## Parsifal98 (Apr 29, 2020)

Here is one that I like:






It has subtitles (but having the libretto is still a good idea), a great Gurnemanz in Hans Sotin (perfect because he's got a great deal of singing ). The rest of the cast is also good (some more adequate than others). It is a traditional production, which means it has the context and the imagery that Wagner wanted. It is well conducted by Horst Stein, with a great distinction between the more tensed and more spiritual moments. It is overall a great production of the work.

Hope you like it!

P.S. If you only want to listen to Parsifal, the two recordings proposed by Vincula are excellent!


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## Woodduck (Mar 17, 2014)

vincula said:


> Hans Knappertsbusch ´62 in good SQ:
> 
> 
> 
> ...


For newbies the '62 recording is the choice. Better sound, less glacial tempi.


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## nina foresti (Mar 11, 2014)

I am a novice myself and this is what grabbed me. (Solti)
I found the Knappertsbusch so slow that it lost a momentum of melancholy


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## Parsifal98 (Apr 29, 2020)

vincula said:


> Hans Knappertsbusch ´62 in good SQ:
> 
> 
> 
> ...


I don't know if I am the only one, but I have a hard time with the '62 recording. It is superbly conducted and some singers give us great performances (Thomas, London and Dalis). But I do not like Hotter as Gurnemanz. His voice by that time had become too wobbly and unsteady. I also prefer real basses in this role, like Ludwig Weber or Alexander Kipnis. It is real problem for me, because Gurneamanz has a lot of singing and some of it is my favourite in the entire opera (_Titurel der fromme held_ and _Karfreitagzauber_ just to name these two). I actually have a hard time appreciating Hotter after his vocal crisis. But he is superb in his early recording of Schubert's _Winterreise_ or Seidler-Winkler's recording of _Die Walküre_ act II.

As for the 1951 recording, I love Weber as Gurnemanz but the conducting and sound are not as great. Futhermore, Windgassen is not my ideal Parsifal (I woukd prefer Vickers or Melchior) and Mödl is very, very hard to appreciate.

If only the '51, '62 and '64 recordings/performances could be combined, then I would be pleased... But as I await for such a miracle to happen, I'll continue to listen interchangeably to these two (still) great recordings.


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## Woodduck (Mar 17, 2014)

Parsifal98 said:


> I don't know if I am the only one, but I have a hard time with the '62 recording. It is superbly conducted and some singers give us great performances (Thomas, London and Dalis). But I do not like Hotter as Gurnemanz. His voice by that time had become too wobbly and unsteady. I also prefer real basses in this role, like Ludwig Weber or Alexander Kipnis. It is real problem for me, because Gurneamanz has a lot of singing and some of it is my favourite in the entire opera (_Titurel der fromme held_ and _Karfreitagzauber_ just to name these two). I actually have a hard time appreciating Hotter after his vocal crisis. But he is superb in his early recording of Schubert's _Winterreise_ or Seidler-Winkler's recording of _Die Walküre_ act II.
> 
> As for the 1951 recording, I love Weber as Gurnemanz but the conducting and sound are not as great. Futhermore, Windgassen is not my ideal Parsifal (I woukd prefer Vickers or Melchior) and Mödl is very, very hard to appreciate.
> 
> If only the '51, '62 and '64 recordings/performances could be combined, then I would be pleased... But as I await for such a miracle to happen, I'll continue to listen interchangeably to these two (still) great recordings.


While recognizing that Hotter's tone is a little rough, I find his Gurnemanz magnificently human, unsurpassed as an interpretation. There are no weak performances in the '62 Parsifal, and I strongly recommend it to anyone new to the opera.


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## Couchie (Dec 9, 2010)

Not the whole opera, but I uploaded most of Act 2 to Youtube, this is the best video performance.

It's age restricted because you can see Waltraud Meier's breasts through her sheer garment.


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## Woodduck (Mar 17, 2014)

Couchie said:


> Not the whole opera, but I uploaded most of Act 2 to Youtube, this is the best video performance.
> 
> It's age restricted because you can see Waltraud Meier's breasts through her sheer garment.


Given Parsifal's age when he meets Kundry, it's clear that sexual mores have become more puritanical. Or maybe we just don't want our children running off looking for grails.


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## Parsifal98 (Apr 29, 2020)

Woodduck said:


> While recognizing that Hotter's tone is a little rough, I find his Gurnemanz magnificently human, unsurpassed as an interpretation. There are no weak performances in the '62 Parsifal, and I strongly recommend it to anyone new to the opera.


And what are your thoughts on the 1951 recording? And are there other recordings apart from '51 and '62 that you would recommend?


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## daco (Jan 5, 2021)

Hi,

My son and I started watching/listening to the Horst Stein production tonight. We stopped after about 40 minutes (it's a school night!), and are both intrigued to see where the story goes. We had a few laughs at the hats of the soldiers bearing the king. Most importantly we both agree that there's been some good music, and we will continue to watch over the next week!


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## Woodduck (Mar 17, 2014)

Parsifal98 said:


> And what are your thoughts on the 1951 recording? And are there other recordings apart from '51 and '62 that you would recommend?


With the greatest Klingsor on record (Uhde) and a fresh-voiced George London, I'd like the '51 a lot more without Martha Modl, whose odd, pushy voice I just can't abide. The tempos occasionally bog things down a bit too. It's interesting that Kna's tempos in '62 give us an overall duration within a few minutes of Hermann Levi's at the 1882 premiere, and never feel either rushed or stodgy. I haven't heard all the other Knappertsbusches and probably never will. Some people here have collected them all and have various favorites. Kna's final _Parsifal_ from '64 is essential for Jon Vickers.

Of non-Kna recordings I like the Kubelik and the Solti best. Both are well-conducted and well-sung, and have excellent sound. The Karajan is spoiled for me by the very mediocre Kundry and Parsifal.


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## The Conte (May 31, 2015)

daco said:


> Hi,
> 
> My son and I started watching/listening to the Horst Stein production tonight. We stopped after about 40 minutes (it's a school night!), and are both intrigued to see where the story goes. We had a few laughs at the hats of the soldiers bearing the king. Most importantly we both agree that there's been some good music, and we will continue to watch over the next week!


That's great, thanks for keeping us updated. The Stein Parsifal is one I haven't seen, but it is on my viewing pile. I might give it a go to see what it is like. Glad to hear that you like some of the music.

N.


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## The Conte (May 31, 2015)

Parsifal98 said:


> And what are your thoughts on the 1951 recording? And are there other recordings apart from '51 and '62 that you would recommend?


I haven't heard all of the Kna Parsifals, but I've heard most of them. The '51 and '62 recordings are the two most famous ones as they were recorded by record companies to be released, whereas the others were all radio broadcasts (I believe). I think the '62 is the only one in stereo and so it is an easy first choice. However, some of the radio broadcasts were better performances than the two that happened to be recorded by the record labels. The '52 performance has almost the exact same cast as in '51, but catches them on a much better night (and in clearer sound!) I would, therefore say that whilst the '52 is essential, the '51 isn't. (I also note that it's a touch faster than the previous year so doesn't drag as much.)

I prefer the '64 over the '62, but that's because I adore Vickers in the title role. I would say the three best performances out of those I have heard are the '52, the '62 and the '64 and you can leave the others, but some like to get all Pokemon over them and collect them all!

N.

P.S. I must listen to the '62 again, it's been a while and I need to compare it with the Karajan and Kubelik.


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## Parsifal98 (Apr 29, 2020)

daco said:


> Hi,
> 
> My son and I started watching/listening to the Horst Stein production tonight. We stopped after about 40 minutes (it's a school night!), and are both intrigued to see where the story goes. We had a few laughs at the hats of the soldiers bearing the king. Most importantly we both agree that there's been some good music, and we will continue to watch over the next week!


Glad you like it so far. I have just checked and you stopped right before the arrival of Parsifal and the Transformation and Grail scenes, which are, in my opinion, the best scenes of the first act!

After having accustomed yourself with the work through the Stein performance, you should really listen to the '51 and '62 recordings by Knappertsbusch, the latter considered to be the best recording of the opera ever made. And if you want more information about the opera and the plot, check out this thread (Let's talk Parsifal..................) where our in-house Parsifal and Wagner specialist Woodduck lets nearly all of his knowledge out!

Enjoy and keep us updated on your experience of this most sublime work of art!


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## Parsifal98 (Apr 29, 2020)

Woodduck said:


> With the greatest Klingsor on record (Uhde) and a fresh-voiced George London, I'd like the '51 a lot more without Martha Modl, whose odd, pushy voice I just can't abide. The tempos occasionally bog things down a bit too. It's interesting that Kna's tempos in '62 give us an overall duration within a few minutes of Hermann Levi's at the 1882 premiere, and never feel either rushed or stodgy. I haven't heard all the other Knappertsbusches and probably never will. Some people here have collected them all and have various favorites. Kna's final _Parsifal_ from '64 is essential for Jon Vickers.
> 
> Of non-Kna recordings I like the Kubelik and the Solti best. Both are well-conducted and well-sung, and have excellent sound. The Karajan is spoiled for me by the very mediocre Kundry and Parsifal.


Thank you for your answer!

London and Uhde are indeed splendid in the '51 recording. I also have a hard time listening to Martha Mödl. Her odd voice as you say has spoiled for me Fürtwangler's Die Walküre.

I own both the Solti and the Kubelik. I'll have to check them out again. I am fond of the Solti for it is the first Parsifal recording I ever listened to and I find the choral singing in it to be absolutely beautiful.

You've convinced me to listen completely to the '62! I am still a bit annoyed by Hotter but he does have a way with words and is a good interpreter! And I'll also listen to the '64. Vickers is the tenor who made me love opera and he is sublime as Parsifal.

By the way, have you ever listened to Knappertsbuch's Act 3 recording from 1942 (I think)? The soloists are Weber as Gurnemanz, Carl Hartmann as Parsifal and Hans Reinmar (a favourite of mine) as Amfortas.


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## Parsifal98 (Apr 29, 2020)

The Conte said:


> I haven't heard all of the Kna Parsifals, but I've heard most of them. The '51 and '62 recordings are the two most famous ones as they were recorded by record companies to be released, whereas the others were all radio broadcasts (I believe). I think the '62 is the only one in stereo and so it is an easy first choice. However, some of the radio broadcasts were better performances than the two that happened to be recorded by the record labels. The '52 performance has almost the exact same cast as in '51, but catches them on a much better night (and in clearer sound!) I would, therefore say that whilst the '52 is essential, the '51 isn't. (I also note that it's a touch faster than the previous year so doesn't drag as much.)
> 
> I prefer the '64 over the '62, but that's because I adore Vickers in the title role. I would say the three best performances out of those I have heard are the '52, the '62 and the '64 and you can leave the others, but some like to get all Pokemon over them and collect them all!
> 
> ...


Thank you! I did not know about the '52. I'll take a look at it! And Vickers is indeed amazing as Parsifal. His _Amfortas! Die Wunde!_ is touching and thrilling at the same time!


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## vincula (Jun 23, 2020)

I must check out that Kna '52 too. Thanks for the suggestion!

Regards,

Vincula


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