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Hola! Pues yo como tradición no lo suelo hacer, aunque sí este año he sentido que eran estos días para escuchar Parsifal...la verdad que me adelanté porque ayer ya escuché el primer acto de una de las versiones que tengo, hoy me he pasado al Requiem de Verdi y para equilibrar Manon y trocitos de la Fancciula, una no puede ponerse tan "solemne" todo el día!
Ahora seguiré con la misma versión, una grabación del Met del 2006 con Heppner, Pape , Meier...realizada por un aficcionado. La verdad que llegó a mi emule como caída del cielo...y de verdad que merece la pena. Hasta que no me canse de esta no me meteré con otra versión....pongo la info, que viene escrito por el autor de la grabación:
Richard Wagner
PARSIFAL
In-house recording
Metropolitan Opera
dir : Peter Schneider
May 15, 2006
Parsifal................Ben Heppner
Kundry..................Waltraud Meier
Amfortas................Thomas Hampson
Gurnemanz...............René Pape
Klingsor................Nikolai Putilin
Titurel.................Robert Lloyd
Voice...................Tamara Mumford
First Esquire...........Yvonne Gonzales Redman
Second Esquire..........Deanne Meek
Third Esquire...........Tony Stevenson
Fourth Esquire..........Gioacchino Li Vigni
First Knight............Dimitri Pittas
Second Knight...........Jordan Bisch
Flower Maidens: Rachelle Durkin, Wendy Bryn Harmer, Deanne Meek,
Alyson Cambridge, Edyta Kulczak, Lucy Schaufer
4 files + cuesheets
====================================
An Opera-L review, from Mike Begley:
"Tonight's performance of Parsifal at the MET, simply put, was the greatest operatic performance I have ever attended. Someone who has attended more performances over more years may well disagree, but in my 30+ years of operagoing, this was IT! And I saw two things tonight I have never seen before - a standing ovation during the bows between Acts (in his case after Act 2), and for a performance that lasted until 11:45 almost the entire orchestra stayed to join in a standing ovation for the singers and conductor - quite a classy move by folks who have played for nearly 5 hours and have every right to want to get home to their loved ones.
"Since there has been a lot of speculation about Heppner, he did sing and sang (and acted) magnifently. There were some traces of a little opaqueness of the voice in the lower register at the start (as if he were still getting over a cold or allergy attack), but the voice rang out heroically where I was seated (side parterre). He was (as was the entire cast) involved and, where appropriate, dramatically urgent. Although I admire Domingo's accomplishments in this role, Heppner's voice sounds to me like a better fit for the role.
"This seems an appropriate spot to mention the stage director, Zoe Pappas. The stage directors who get to take on the fourth or fifth revival of a work are often overlooked (sometimes deservedly!), but this was top-to-bottom the best acted operatic performance I have seen. That doesn't usually happen without a strong, talented director. And if this was, as I have heard, Heppner's role debut, than she (I assume Zoe is a female name) got such a nuanced, vital dramatic performance from him deserves proper recognition. Even if all these singer's "brought their own" as far as dramatic performance, then she had the good sense and modesty to stay out of their way.
"Rene Pape was simply amazing - the beauty of voice, the stage presence, the naturalness of the acting, the artistry ... what else can I say? This is the first time that I have not felt Act One was just "too damn long" and I attribute that mainly to the collaboration of Pape and conductor Peter Schneider. I am glad to see the MET has had the good sense not to "type cast" him into exclusively German repetoire, and I eagerly await his Fillipo next season.
"Schneider needs to be back at the house early and often. A superbly paced performance, with a near ideal balance of repose and fire. The orchestra played brilliantly for him and seemed to express genuine enthusiasm for him at the curtain calls. Though I admire Levine's Wagner conducting, little if anything was lost with his replacement by Schneider.
"Waltraud Meier was simply magnificent. As a combination of acting, interpretation and singing, I doubt she has many, if any, equals in he world today. A minor deduction for a little effort at the end of act 2 - but she hit a homerun on the "Laughed" phrase (I think its high b to the lower c#). Brilliant, fearless, and right on the money. And she lived and breathed every moment in the role and was compelling throughout.
"Hampson was on fire tonight. I thought his voice might be too lite for Amfortas - WRONG! Strong and true, it rang out tonight. His dramatic performance was also exceptional. The combination of voice, temperament and acting he brough to his act three scene were gut-wrenching.
"I'm not a big fan of Putilin outside the Russian repertoire, but he really SANG the role, and was (are you seeing a pattern here?) a magnificent actor.
"Even the knights and esquires were impressive. Bass Jordan Bisch in his MET debut as the second knight, displayed a voice of enormous promise. We should be hearing much more of him in the future."
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