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Wagner : Parsifal

4.5 étoiles sur 5 2 commentaires client

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Détails sur le produit

  • Chef d'orchestre: Rafael Kubelik
  • Compositeur: Richard Wagner
  • CD (31 décembre 2007)
  • Nombre de disques: 4
  • Label: Arts Music
  • ASIN : B00009LW4Y
  • Autres éditions : CD
  • Moyenne des commentaires client : 4.5 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 33.352 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Prelude
  2. Act 1. 'he! ho! waldhüter ihr' - gurnemanz
  3. Act 1. 'sehr dort, die wilde reiterin!'
  4. Act 1. 'recht so! - habt dank!' - amfortas
  5. Act 1. 'he, du da! was liegst du dort wie ein wildes tier?'
  6. Act 1. 'das ist ein andres' - gurnemanz
  7. Act 1. 'titurel, der fromme held, der kannt' ihn wohl'
  8. Act 1. vor allem nun: der speer kehr uns zurück!
  9. Act 1. 'weh! weh'
  10. Act 1. 'du konntest morden, hier im heil'gen walde' - gurnemanz
  11. Act 1. 'wo bist du her ?' - gurnemanz
  12. Act 1. 'den vaterlosen gebar die mutter' - kundry
  13. Act 1. 'so recht! so nach des grales gnade' - gurnemanz

Disque : 2

  1. Act 1. 'vom bade kehrt der könig heim' - gurnemanz
  2. Act 1. 'nun achte wohl, und lass mich seh'n' - gurnemanz
  3. Act 1. 'mein sohn amfortas, bist du am amt' - titurel
  4. Act 1. 'nein! lasst ihn unenthüllt!' - amfortas
  5. Act 1. 'nehmet hin meinen leib' - stimmen
  6. Act 1. 'was stehst du noch da?' - gurnemanz

Disque : 3

  1. Prelude
  2. Act 2. 'die zeit ist da' - klingsor
  3. Act 2. 'erwachest du? ha!' - klingsor
  4. Act 2. 'jetzt schon erklimmt er die burg' - klingsor
  5. Act 2. 'hier war das tosen'
  6. Act 2. 'iht schönen kinder' - parsifal
  7. Act 2. 'komm, komm! holder knabe!'
  8. Act 2. 'parsifal! - weile' - kundry
  9. Act 2. 'ich sah das kind an seiner mutter brust' - kundry
  10. Act 2. 'wehe! wehe! was tat ich?' - parsifal
  11. Act 2. 'amfortas! - die wunde' - parsifal
  12. Act 2. 'grausamer! fühlst du im herzen' - kundry
  13. Act 2. 'auf ewigkeit wärst du verdammt' - parsifal
  14. Act 2. 'vergeh, unseliges weib!' - parsifal
  15. Act 2. 'halt da! dich bann ich mit der rechten wehr!' - klingsor

Disque : 4

  1. Prelude
  2. Act 3. 'von dorther kam das stöhnen' - gurnemanz
  3. Act 3. 'du tolles weib! hast du kein wort für mich?' - gurnemanz
  4. Act 3. 'in düstrem waffenschmucke' - gurnemanz
  5. Act 3. 'heil mir, dass ich dich wiederfinde!' - parsifal
  6. Act 3. 'o gnade! höchstes heil!' - gurnemanz
  7. Act 3. 'nicht so! . die heil'ge quelle selbst' - gurnemanz
  8. Act 3. 'du wuschest mir die füsse' - parsifal
  9. Act 3. 'wei dünkt mich doch die aue heut so schön' - parsifal
  10. Act 3. 'mittag. - die stund ist da' - gurnemanz
  11. Act 3. 'geleiten wir im bergenden schrein' - ritter
  12. Act 3. 'ja, wehe! wehe! weh über mich' - amfortas
  13. Act 3. 'nur eine waffe taugt' - parsifal

Description du produit

Weikl - Moll - Salminen - King - Mazura - Minton Chour et Orchestre Symphonique de Bayerischen Rundfunks RAFAEL KUBELIK Munich, 05/1980 * Qualité sonore 24 Bit/96 kHz - Enregistrement en qualité DVD


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Format: CD
On se demande bien pourquoi cet enregistrement majeur du chef-d'oeuvre de Wagner est resté pendant 30 ans dans les armoires de la maison de disques... Cependant, mieux vaut tard que jamais et ceux qui aiment cet opéra doivent connaître cette version.
On y découvre que Kubelik, chef tchèque dont on connaissait bien l'affinité avec les musiques d'Europe centrale (il grava dans les années 60 une intégrale des symphonies de Malher, également avec l'orchestre de la Radio Bavaroise), était également un grand wagnérien. Sa direction sans exagération, recueillie, fluide et intelligente, met en valeur les superbes sonorités de l'orchestre qui forme un écrin idéal pour une équipe de chanteurs remarquables.
On ne pouvait trouver mieux que Kurt Moll pour chanter Gurnemanz. Dans cet enregistrement comme dans ceux de Barenboim (CD) ou Levine (DVD), la basse allemande est parfaite tant vocalement que du point de vue de l'intelligence du rôle. On n'a toujours pas fait mieux.
James King est l'autre choix judicieux de ce Parsifal.
En 1980 sévissait une cruelle pénurie de ténors héroïques (Heldentenors) capables de chanter les grands rôles wagnériens (Parsifal, Tristan, Siegfried, Siegmund, Tannhaüser...) et certains grands chefs - Karajan pour Parsifal, Boulez pour Siegfried ou Bernstein pour Tristan - durent avoir recours à Peter Hofmann, chanteur nettement inférieur aux grands ténors de la génération précédente.
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3 commentaires 22 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par PhG77 le 12 octobre 2015
Format: CD Achat vérifié
Voici un Parsifal de toute beauté, admirablement chanté et dirigé par Rafael Kubelik dont on connaissait, dans la même série, des Maîtres Chanteurs de référence.
Ici pas de longueurs, ni d'excès extatiques, mais un déroulé simple et naturel de la partition qui prend l'auditeur par l'épaule et l'accompagne au fil des trois actes pour un voyage de rêve.
Le premier acte est baigné d'une ambiance à la fois chaleureuse et diaphane, délicate et puissante, comme lorsqu'on assiste en profane à quelque chose de sacré sans vraiment le comprendre, mais en en ressentant intimement tout le sens jusqu'au plus profond de nous même.
Sans tapage, ni envolées grandioses, Kubelik intériorise le drame aux limites du possible et de l'abstraction, pour en réalité en décupler la puissance de l'impact. Magnifique.
Le second acte vient en contrepoint du premier par la présence plus marquée des voix et de l'orchestre et, surtout, une urgence qui met en relief la chair et l'humain, Impressionnant.
Enfin, le troisième acte combine les approches très différentes des deux précédents pour en faire un sommet d'émotion simple, apaisée et durable comme l'oeuvre en connait peu au disque. Splendide.
L'équipe de chanteurs, l'orchestre et le chef forment un ensemble somptueux, au dessus duquel plane le superbe Gunemanz de Kurt Moll.
Si ce Parsifal n'est pas le Graal de la discographie, il n'en est vraiment pas bien loin.
1 commentaire 4 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.3 étoiles sur 5 21 commentaires
13 internautes sur 13 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 An Amazing Parsifal! 30 janvier 2011
Par Y. Shuster - Publié sur Amazon.com
Format: CD Achat vérifié
This recording of Parsifal is one of the best ever made. The sound is excellent, and the Bavarian Radio Orchestra, paced by Kubelik, plays superbly! The singers are all excellent. James King, in the title role, does not have the vocal heft of a true heldentenor, or "tenore di forza." So his potrayal is not in the mode of, say, Domingo, Vickers, or Thomas. Yet his contribution is quite poignant and heartfelt, and so he makes the role credible. Just listen to his "Amfortas! Die wunde!" in the second act, and you'll know what I mean. Yvonne Minton does not have the powerful mezzo-soprano of some of her predecessors in the role of Kundry, such as Dalis or Gorr. But she has a beatiful voice and compelling musicianship. Likewise, Bernd Weikl and Matti Salminen as Amfortas and Titurel, respectively, are in fine vocal estate, and make powerful contributions in their roles. The stand out performance, however, goes to Kurt Moll as Gurnemanz. I own five recordings of "Parsifal," and do not believe there will ever be as great a Gurnemanz as Moll. As a German his diction is flawless. As are his line, tone, and the pathos, depth, and heartfelt characterization he brings to the role. Luxury casting has Lucia Popp as the first flowermaiden.

The three best Parsifal recordings I have ever heard are: Knappersbutsch's 1964 outing with Vickers, Levine's Met studio recording with Domingo, Norman and Moll, and this one with Kubelik, Minton, King and Moll. In a word, you will not be disappointed with this recording.
22 internautes sur 22 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Ten Stars Aren't Enough! 31 juillet 2008
Par L. Lubin - Publié sur Amazon.com
Format: CD Achat vérifié
I had decided not to review my favorite studio recording of Parsifal because so many others had already said most of what I had to say. But after listening to the 2nd Act on my lunch hour today, I find I need to blow off some happy steam and share a few thoughts.

Much for the same reason as Kubelik's "Meistersinger" was supressed to clear the market for Karajan's inferior recording, this Parsifal languished in the vault for more than twenty years. It is a great pity and shame that one conductor can wield that much power, to the detrement of his collegues, and the loss of the opera-loving public.

Rafael Kubelik's flawlessly proportioned, profoundly felt reading of this most ephemeral of Wagner's operas equals the best of Knapperstbusch's live Bayreuth performances with all the advantages of a studio recording: the orchestra and choruses are exceptionally detailed and transparent without any loss of weight in the sound, so all inner voices can be clearly heard. This is especially effective in the Flower Maiden scene, where you get a more visceral sense of the numbers of bodies surrounding Parsifal, rather than a generic choral mass. Kubelik's sense of detail in dynamics and color is a real highlight of this set, and The Bavarian Radio Symphony, particularly their winds and brass, plays magnificently. In this recording, more than any other I've heard, they are the equal of the NY, Vienna and Berlin. He also understands that the voices in Wagner are part of the orchestra, or rather that the orchestra is often 'on top.' You will not have an unnatural prominence of the voice at the biggest climaxes, as is so often the case. The voices may very nearly be subsumed at times, but not entirely lost.

Kubelik also has a clear vision of the overall architecture of each act. His sense of pace is generally faster that what we usually hear these days; Knapperstbusch could be very brisk when the spirit was on him; Fritz Busch, on Marston's issue of the 1936 Buenos Aires broadcast is even more manic at times. But when he opts for a slower than usual tempo, the effect is enthralling. Listen to Parsifals first description of his past to Gurnemanz ("Ich hab' eine Mutter"): the stately tempo reflects the majesty of the forest and the dramatic tension begins to increase. The same occurs in the 2nd act at "Ich sah' das Kind." Kundry's gentle, deliberate pace builds the tension released in Parsifal's grief. He also makes a point of combining changes of dynamics with shifts of timbre. This is remakably effective throughout the score and requires playing of the highest calibre. The emotional result is obvious at first hearing and never wears thin.

Kurt Moll's superb Gurnemanz was recorded within months of his equally fine reading for Karajan. His vocal health is virtually the same, but there are many differences of interpretation and nuance. This is the mark of a great lieder singer, and great Wagner singers are usually great lieder singers, too. Here he makes wider use of pianissimo singing, especially in Act 3 scene 1; he barely whispers some lines, something he could never do in the theater, and the effect is tremendous.

I am unapologetically a huge fan of James King's, and this is some of his best recorded work. He is an anomaly among Wagner tenors; a combination of italiante spinto squillo and a touch of gallic restraint. (He studied extensively with Martial Singher, perhaps the finest baritone France produced in the 20th century, and the eloquent Amfortas on that Buenos Aires broadcast, with his father-in-law holding the baton.) He is hardly unemotional, though he can tend toward a strictness with note values. But if you listen closely (with headphones), even his inhalations are in character, a rare and difficult thing. Only Jon Vickers compares in emotional inolvement, seemingly more so for his greater freedom and less brilliant tone. As is often the case, a phrase by phrase comparison of these two singers shows that they make pretty much the same emotional points, but the sheer opulence of King's sound tends to overwhelm the expressive gesture.

Yvonne Minton again sings an impassioned and seductive Kundry, as she did on Armin Jordan's soundtrack to the Syberberg film. The edge in her upper range is a little more pronounced here than it was a few years earlier, but it helps put over Kundry's frantic desperation at the end of act two. She copes well with the role's notorious pitfalls and understands the character completely.

Amfortas is sung here by Bernd Weikl, in peak voice. He is a very fine Amfortas, vocally luxurious in fact. He holds out the high G in act one for nearly the full measure, although Wagner only wrote an 1/8-note. He doesn't express the same depth of sorrow as Jose van Dam, or the searing torment of Thomas Stewart, but he surely belongs in that upper echelon.

Franz Mazura's Klingsor is one of the best on records, too. He has the natural sound perfect for Wagner's villains, but doesn't rely on it alone. In addition to the native snarl he uses the words, particularly the consonants, to express his hatred and disdain of the Grail Knights.

Titurel is sung magnificently by Matti Salminen, and this is a bit of a problem. Why did the engineers choose to place him up front and equal to Amfortas and the Knights when Wagner demands that the voice issue from the crypt? The effect of this scene is spoiled. But, as Jascha Heifetz said, "Only God is perfect."

All of the small knight and squire parts are filled nicely. Lucia Popp again lends her ravishing soprano to the 1st Flower Maiden, and the rest of that ensemble is as good as you will hear. The Toelzer Knabenchor and Bavarian State Opera Chorus are magnificent in the Grail Temple scenes, which glow with spiritual intensity. The bells of Monsalvat, however, seem rather thin: more like cymbal and gong tacked together.

The original early digital recording has been remastered to the latest 24bit/96kHz technology, and the sound is
brilliant and balanced throughout. My only misgiving (beside the perspective on Titurel) is a hint of room echo, but this is rarely noticable except with headphones.
It isn't a problem at all in the interior scenes of the temple, where the Herkulessaal of the Munich Residenz has just enough echo to suggest the domed space of the Grail temple. But forest, garden and meadow sound a bit boxed in.

Overall, this is the most satisfying studio performance of Parsifal I have heard. This, and the '64 Bayreuth Kna with Jon Vickersas a live counterpart.
7 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Another Fine Parsifal Recording 25 avril 2011
Par Mahlerophile - Publié sur Amazon.com
Format: CD Achat vérifié
There are many very fine recordings of Parsifal in the catalog. In fact, it's difficult to find a poor performance. The highlight of this production is the magisterial Gurnemanz of Kurt Moll--possibly the best rendition ever. He is ablely supported by the poet of the baton Rafael Kubelik and a virile James King as Parsifal, also possibly his best recorded role ever. The recording has a wide and deep sound stage with excellent sonics. I enjoyed listening to this excellent studio rendition. Wagnerian singing of the highest standards.

This recording is near the top of my favorite stereo studio editions along with Karajan's also fine rendition on DG recorded the same year as this one(1980). For the historically minded, I would recommend Krauss's 1953 Bayreuth live air check or Knappertsbusch's 1951 Bayreuth live recording on Decca. Karajan's live Vienna aircheck from 1961 on RCA is also interesting, but sounds older than the earlier recommendations.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Kubelik Parsifal 28 juillet 2013
Par Pandora Nix Shaw - Publié sur Amazon.com
Format: CD Achat vérifié
Parsifal is my favorite opera. I own nine recordings of it. My go-to has long been the Knappertsbusch '62 from Beyreuth, indisputably one of the great performances (of any opera) on record. Nevertheless, of late I have become obsessed with this recording, and I have to say that I now regard it as my favorite. The critical factors in its favor are: (1) Raphael Kubelik's wonderful, up-tempo conducting, which both respects the mystery of the music but also advances the plot; and (2) Kurt Moll's stunningly beautiful Gurnemanz. I highly recommend it, whether you're looking to purchase your one and only Parsifal, or whether you wish to explore the wide array of great performances of this amazing opera.
10 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Second to KNA 4 octobre 2007
Par Sir Butternut Longsword - Publié sur Amazon.com
Format: CD Achat vérifié
This Parsifal is the second best stereo Parsifal on disc tied with Solti's, lesser only to Kna's transcendent 62 philips with Hotter, London, Thomas, etc. Among more modern versions, it outranks Barenboim and Karajan. The cast is sensational.
Kurt Moll turns in his finest Gurnemanz with a voice in much better form than for either Levine(CD\DVD). Weikl, as Amfortas(of course) perrforms at his usual excellent standard. Salminen is the perfect Titurael and Franz Mazura is tremendously better than his later performance on the Levine DVD. James King is a very good Parsifal, one of the best on disc-though here I do prefer Siegfried Jerusalem only on the Barenboim recording.
Despite such a stellar cast, the real star of the show is Kubelik. Wagnerites already know this from his Meistersinger(also the best modern version-if not the best overall) and his Lohengrin on DG.
His reading is very unique and tender, but never sacrifices any of the natural flow that Levine does-his reading is one of the most profound on disc made immediately apparent even from the opening Prelude when each tutti is done with the utmost clarity and refinement-really I have never heard a finer or more careful(in a good way) job by a conductor with the exception of KNA. For those who love Parsifal, like myself, you must get this. It is absolutely a must, as essential as the KNA. I have to admit, the KNA is still my favourite-but this really allowed me to hear this work in a fresh, beautiful way that I hadnt done in a long while.
Gurnemanz is one of, if not my favourite Wagner character. I consider the finest to be Hotter and Griendl with Frick for Solti coming in a close second followed by this performance by Moll to be a third(again I must emphasize THIS performance, not the Levine when his voice is lighter and more strained at times. As Amfortas, I consider Londons 62 to be the most convincingly tender, suffering, and angelic performance ever-just listen to his intro when he sings about the grace of the morning), along with Hotter and Thomas Hampson-James King does a fine job as Parsifal-though at times I found him to be, at times and only briefly, a little kitschy. I adore Jerusalems Barenboim account. Here Yvonne Minton turns in a fine kundry, though Waltrued Meier takes the cake-again with Barenboim and Nagano. Niedlinger has always been my favourite Klingsor especially the 54 KNA, along with Roar from the Stein DVD. Hotter, with Solti, and this Salminen interp have been my favoutite Titurels.
If you buy only one parsifal, buy the Philips KNA(62). If you are going to be two, then buy this one along with that. I also strongly recommend finding a performance of KNA\54 with Josef Griendl as Gurnemanz. My DVD preferences include the Horst Stein for tradionalists and the Kent Nagano for those seeking new ways to see Wagner.
Buy it before it disappears into the ivory tower in the desert, never to be heard from again. It already happened once.
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