This Parsifal is beautiful, well-sung, exquisitely recorded, and overall, superficial. I never thought I’d complain much about this opera being performed too quickly, but Marek Janowski gets through it in 3 hours/46 minutes, half-way between Boulez’s 3:38, which seems to be aiming for an entirely different experience— i.e., the demystification and re-musicification of the opera—and Thielemann’s snippy 3:53, which is just too darned easy going (Grail/Shmail) for its own good. Lest I be accused of having no patience with slow-poke Parsifal conductors, note that my reference recording is Kubelik’s, which is at the slow end of the total spectrum at 4:16, and that I greatly admired Gergiev’s recent 4:18. What holds Gergiev’s back is some of the singing, but the overall impression is wonderfully theatrical and René Pape is a stupendous Gurnemanz.
Under Janowski, we don’t feel the drama or the weight. If one notes the loveliness of the playing in the first-act transformation music rather than feeling its torturous burden, something is wrong; similarly, the disillusioned, drained, and draining music of the third-act prelude should be just that and it isn’t. And the second act does not build to Kundry’s mania. This opera is almost more rite than entertainment (that’s why many cannot tolerate it) and should be performed as such.
But Janowski’s singers are impressive. Christian Elsner outdoes Gergiev’s Gary Lehmann in every way, but James King for Kubelik is better than both. Franz-Josef Selig has the exact right sound for Gurnemanz (unlike Pape, who some might argue sounds a bit young) and his humanity is evident in every phrase. He’s tireless as well. Michelle De Young’s Kundry is emotionally world class but I prefer a darker sound; still, she’s not to be ruled out. Evgeny Nikitin repeats his Amfortas and is just as good as he was for Gergiev; Dimitry Ivashchenko’s Titurel is dark and troubling. Eike Wilm Schulte comes close to the hideous perversity of Klingsor, and he does sing every note (rather than barking). The Flower Maidens are stunning.
Orchestra and chorus are ravishing. As I stated above, this set is a beauty. The sound-stage is deep and true; offstage effects are utterly real. But I find the whole show an excellent run-through rather than a sacred play; I was impressed but never moved.
