Parsifal, one of Wagner's three great Schopenhauerian works, requires a conductor who has a cohesive vision for the entire stage drama that not only brings the entire story together, but engages the audience in a philosophical atmosphere which makes you think about the several psychological nuances experienced by the characters. It is not very hard to play for the orchestra, despite the fact that it is still Wagner, but to bring the truth out of Parsifal takes more than just whipping some baton around to get a note-perfect performance. You need a sense of spirituality and sacredness, and the drama must be there too. I believe that besides the recently released "forgotten" recording by Rafael Kubelik with the late James King, Kurt Moll, and Yvonne Minton, only Herbert von Karajan and his Berlin Philharmonic and the well-selected cast was able to achieve this vision.

Most reviewers accuse Karajan of smoothing over the music of Parsifal at the expense of the drama. I would beg to disagree, as I believe that musically, Karajan's dynamics are perfect for the opera, and his choice of rubato is so well-placed that he brings a sense of spirituality to the opera. It's as if the magnificent string playing of the Berlin Philharmonic along with the brass ensemble and the percussions could easily transport you to the mythical realm of Montsalvat. The Verwandlungsmusik is played to perfection, the Prelude sublime and rapturous, and the character leitmotif's are without a doubt...done just right. Orchestra wise, this Parsifal is played to perfection.

As for the cast, well, it is true that Karajan could have chosen better singers, but these seasoned Wagnerians have done nothing but achieve the vision that he sought for in his recording. Jose Van Dam is simply the best Amfortas I've heard on record. He may not have George London's large voice, but his singing is so sensitive that you can easily feel the anguish and torture Amfortas is feeling. Karajan's excellent ear for balances allows the orchestra to enhance all the pain and longing that Amfortas yearns for. As for Gurnemanz, I don't think anyone can beat Hans Hotter when it comes to authority, but Kurt Moll sings the role most beautifully and so naturally, with an excellent sense of drama to boot, that I could easily place him beside Hans Hotter. Only Hotter's Act III could slightly be ahead of Moll's, but Moll's achievement is simply outstanding in this one.

The Kundry and Parsifal in this recording are often the subject of many a Wagnerian's debate regarding K's choice for casting. Dunja Vejzovic was one of the greatest Slavic sopranos of the past century, with a range that extends from a mezzo to high soprano. Alas, her top is shrill to some listeners' tastes, but for a Callas fan such as I, this isn't much of a problem. I think she brings such a demented and pitiful, yet seductive quality to her Kundry whenever such characteristics are needed. Dramatically, hers is an intense performance, with only Christa Ludwig's achievement exceeding hers. Still, others do appreciate her performance, and I would put it second behind Christa Ludwig's great Kundry. Peter Hofmann, on the other hand, sings a most young and convincing Parsifal. And once again we come to the subject of the wobble. I never heard an absurd one in this recording, and I think his achievement in this recording is equalled only by Jess Thomas. Not even Placido Domingo, whose Wagnerian interpretations are known for their bel canto qualities, touched the young fal parsi that Hofmann and Thomas brought to their performances. A great Parsifal indeed. One would wish that the voice were firmer, but I think we could overlook that and see such a fresh and young interpretation given to the role.

For the supporting cast, I think Siegmund Niemsgern gives an excellent Klingsor. It's not an Alberich Klingsor, but a sorcerer Klingsor, just right. The Flower Maidens are sung beautifully, and the Stimme from Above is sung by none other than the great mezzo Hanna Schwarz. Luxurious casting, great orchestra, and a conductor who knows the ABC's of Wagner conducting, plus a most sacred atmosphere created by the recording, and I think you have a Parsifal for the ages. Highly recommended.

Some disappointed reviewers have piled on to this recording, but I feel that it is unsurpassed among modern recordings. Karajan had conducted a live Parsifal from the Vienna State Opera (on BMG) that has the incomparable Hans Hotter as Gurnemanz and Christa Ludwig singing Kundry in Act 2 magnificently (strangely, Karajan asked for two Kundrys, each given her own act).

Despite those advantages, Karajan grew musically with this opera and here gives a performance of astounding depth and virtuosity. The orchestral playing is miles ahead of that achieved in the pit by Knappertsbusch in his various live performances from Bayreuth, and the digital sound, though not perfect, is very good for the Eighties.

Kurt Moll is outstanding as Gurnemanz, with his rolling deep bass and a feeling of enormous sorrow mixed with spiritual gravitas. Only Hotter exceeds him on CDs. The Kundry of Dunja Vejkovic is too Slavic--shrill and squawky--but dramatically fierce.

Which brings us to Peter Hoffmann as Parsifal. This is not a long role vocally, and by no means does he spoil the set. His career was a flash in the pan, and his Tristan for Bernstein was a disaster despite the fact that his Siegmund for Boulrz was a triumph. Here he is in as good form as he ever achieved. To his credit he is intense and dramatically believable, but the role puts vocal strains on him, and one could not say it didn't.
But I have seen raves at Amazon for Wagner singing that is equally strained--see Ludwig Suthaus on the classic Furtwangler Tristan.

All in al, Karajan's vision is so musical, virtuosic, and passionate that I cannot understand any rating but the highest.

It's hard to find a "perfect" Wagnerian recording, that much is certain. Much like the hunt for a perfect Ring Cycle, or perhaps even a perfect Flying Dutchman if you reach far back into Wagner (I've yet to find the perfect one, the match-up being between the Solti and the Klemperer), finding a perfect Parsifal is hard. Let's see how they match up:

KNAPPAERTSBUSCH: His recording during the Wieland Wagner production (early 1950's, I forget the exact year) features the "New Bayreuth" class of singers in their prime. Jess Thomas as the title role was brilliant, as were Gustav Neidlinger as Klingsor and Hans Hotter as Gurnemanz. Excellent playing by the Bayreuthers in the pit, but the choral work was the definite weak link. The performance as a whole was very organic and moving, and an excellent choice if you want just one Parisfal.

SOLTI: Solti has a history of producing "solid" Wagnerian performances, to quote several other reviewers on the site. "Solid" can be taken in either the positive or the negative; positive as the orchestral playing is generally very good and the singing is usually top-notch (the casting for Solti recordings alone makes them desirable). Parsifal is no exception, and is in almost all aspects one of Solti's finest (if not the finest) Wagner recording. Rene Kollo gives a fine performance as Parsifal, though I must admit I see him more as a Walther than a Parisfal. Gottlob Frick, who gave a wonderful performance as Hagen in the Solti Ring (as well as a great Fasolt in the Knappaertsbusch 1956 Bayreuth Ring) is an odd but ultimately good choice for Gurnemanz. Christa Ludwig gives her best, as usual, in the role of Kundry. The VPO, the usual Wagnerian Solti gang, is top-notch as usual. My personal choice for a first-time Parisfal recording to any newcomers.

KARAJAN: I often quote Stewart Spencer in calling most of Karajan's Wagner recordings as "lyrical cosmos". To put it bluntly, Karajan vies for the beauty rather than the drama in Wagner's works. His Ring Cycle especially, while sublimely beautiful in every way, lacked the drama behind the Solti or Knappaertsbusch or Bohm. His Parsifal recording, being Wagner's most "lyrical cosmos"-ish opera, makes Karajan's style of reading more appropriate. His choice of singers is good in some ways, bad in others. Kurt Moll, one of my favorite operatic singers, gives a typically wonderful reading as Gurnemanz. Jose van Dam is good as Amfortas. Peter Hoffman, however hard he tries, cannot live up to Jess Thomas or even Rene Kollo. The BPO gives one of the best readings of the Prelude I've ever heard.


In conclusion, it comes down to a matter of dramatic taste. If you want a dramatic recording, go for the Kna - it's a live recording with good quality. If you want a dramatic stereo recording, the Solti. If you want a more lyric, beautiful recording but at the cost of drama, get the Karajan if you are so inclined. There are other Parsifal recordings out there, such as other Knappaertsbusch or the Bouelz or Barenboim, but I've never listened to them so I cannot give an opinion on them. If I had to choose one, however, I would choose the Solti as a first-time Parisfal recording.