Considering the intellectual depth of subject material, length, and the demanding nature of both the vocal and orchestral music, Parsifal -- the work many consider to be Wagner's ultimate masterpiece -- is already well represented on compact disc. There is currently a wide assortment of interpretations that delve into the various realms of this four-hour fantasy currently available on disc. They include
Sir Georg Solti's 1972
Vienna Philharmonic account,
James Levine's Bayreuth recording from 1985 and his later Met venture from 1991, as well as
Karajan's Grammy-nominated 1981 version. There are also several historical sets available with the great Wagner interpreter
Hans Knappertsbusch, to say nothing of the highly praised recordings by
Rafael Kubelik,
Daniel Barenboim, and
Pierre Boulez. All of these conductors certainly have one common denominator: prestige. More crucial, though, is the massive experience they have gained amongst the thousands of concerts they have conducted because of that prestige. If there is one successful ingredient to recording and performing a work like Parsifal, it's experience. To sell the disc, though, you need prestige.
It's questionable whether
Gabor Ötvös has either. Certainly,
Ötvös has a significant conducting career in Europe and knows Wagner well. He has experience, but not necessarily experience with top orchestras -- normally a prerequisite for recording this challenging score. Whatever
Ötvös may lack in prestige, though, his seasoned cast more than makes up for. Matthias Hölle, who plays Gurnemanz, is an experienced Wagnerian; he was featured in
Daniel Barenboim's 1989
Berlin Philharmonic version of Parsifal for Teldec. Likewise,
Doris Soffel was highly praised for her interpretation of Kundry in
Rafael Kubelik's highly acclaimed 1980 version. Wolfgang Schöne, appearing here as Amfortas, is not quite as experienced with Wagner's mythological works, but has been featured in Hänssler's outstanding series of Bach cantatas with conductor
Helmuth Rilling (a set that also includes
Soffel).
Regardless of a cast that is in many ways impressive, the success of this recording is still an uphill battle for the Dynamic label. This performance, recorded in March 2005, is by no means extraordinary. The orchestra and chorus of the Teatro la Fenice di Venezia sing and play quite well, though -- at least at the outset. The opening prelude, which begins by setting the scene at the Grail Castle, captures Wagner's poetic imagery well. Unfortunately, much of the first act feels rushed and glossed over, and by the end of Act I the chorus becomes audibly tired, with the singing becoming horrifically flat in the process. While
Ötvös and his cast seem to grasp the sweep of the music in some ways, there is simply not enough attention to detail. Good, it seems, is not good enough -- the cast, orchestra, and performance overall simply cannot compete with any of the powerhouse contenders. Nor can Dynamic's gray, unfocused sound.
To be fair, though, no recording, audio or video, truly does Parsifal justice. As Wagner wrote, after all, this is "a festival play for the consecration of the stage," which can only be captured by witnessing the spectacle live, complete with the staged drama and excitement. The disc is tough to recommend, even considering the budget price. Use some of the recordings above in your search for a better point of entry to Wagner's classic.