Met's Stunning Parsifal in HD

This was simply (or, perhaps not so simply) one of the most amazing performances I've experienced of Parsifal, which is, of course, my very favorite opera. The new production is stunning, the hand-picked cast superb, each character caught up completely in the drama. I was only mildly concerned for my seatmates who'd never before seen Parsifal (though familiar with it from recordings). I needn't have worried for they were, as I was, blown away by all we saw and all we heard. During the intermissions  found myself chatting with the chap sitting on my other side, a longtime Met goer since his army days and being on leave in New York, yet had never managed to see it before. At the end, I asked, "So, how was your first Parsifal?" With tears streaming down his face, all he could manage was a faint,"I'm undone. Completely." Two complete strangers sharing the same experience and having the same reaction. Wagner can do that to us.

Musically, Gatti had the score so firmly in hand, and under him the Met Orchestra responded splendidly through every inch and measure of this amazing score. His nuanced, non-rushed reading glimmered in all the right places; the transformation music of the outer acts truly was transforming, the pulse (and pace) in Act II's opening, actually dangerous sounding ... chilling, as it should be. The Met Chorus, as ever, was superb, the multiple choir effects of the different levels of sound Wagner indicates coming through incredibly throughout the cinema's sound system.

Rene Pape's Gurnamenz is one that stands alongside the very best, his face registering so many emotions it was almost unbearably beautiful at times. During the first Grail ceremony, where Wagner finally gives him a vocal rest, his acting alone made every gesture, every movement and glance, genuinely felt. As he stared at Parsifal, Pape's eyes and even his mouth, registered a look of one who barely dared to hope that this young man could be "The One." As is always the case with this elegant singer, his way with the text remained a miracle.  In the Good Friday scene, just the simple way he uttered the phrase "Nun freut sich alle Kreatur" took my breath away, revealing a dignified rapture . . . a genuine rejoicing of nature and the meaning of this holiest of days. 

Jonas Kaufmann with his medium-sized tenor, gave a performance that captured the youthful casualness of the Innocent Fool, throughout the first act. He places the voice just right to be heard even softly, yet was fully capable in Act II of opening up for "Amfortas! Die Wunde!" With a sound that grows increasingly through its pain, his Parsifal finally comprehends . . . discovers what his purpose must now be, and ends that great monologue. with his desperate cry: "Erlöser! Heiland! Herr der Huld! Wie büss ich Sünder meine Schuld?" The intensity Kaufmann exhibited from this point onward was tremendous in every way. This really was Parsifal.

I enjoyed the interview with Peter Mattei, who spoke about people (like me) wondering something along the lines of, "Amfortas? You?" Haha! As it stands, Mattei, who we have grown to love in Mozart, Rossini, Tchaikovsky gave one of the most riveting, painfully beautiful accounts of the role I've seen or heard, his great narrative in Act I, heartbreaking. The integration between singer and role was perfection. What a glorious gift - and surprise this debut was. 

Evgeny Nikitin was as spooky and commanding a Klingsor as one could hope for. Malevolence, like blood, literally dripping from him as he made wild gestures and seemed to be uttering dark-god incantations.  This was a far cry from previous Klingsors in my experience, who were no more threatening than Uncle Fester, bald and sexless.  There was a verility still on display and again, that malevolence manifested itself in voice and deed and was not only palpable, it was terrifying.

Katarina Dalayman clearly knows the essence of Kundry down to her toes and her three (well, four) appearances captured every nuance of this eternally tortured woman. Girard took full advantage of his staging and whereas most Kundrys have been around for centuries, his has her having existed for millennia. The chemistry between Dalayman and Nikitin, Dalaymand and Kaufmann, Dalayman and Pape here made one of Wagner's most fascinating creatures even more so.

In the penultimate scene, we witness the spring in the dry, scorched topography coming back to life as water again flows with life, the perfect segue to the finale.  Entirely unique, Girard makes the entirety of the scene uniquely special, and, for me, the most overwhelming since Wieland Wagner's.  We watch Amfortas' healing, almost still in disbelief, and feel the awe and wonder of Gurnemanz, whose tested accepts his new King, were infinitely moving. Then, there is Kundry. Taking her rightful place in the final ceremony, and uniting with Parsifal the Grail and Spear, she is finally redeemed and allowed to die.  How much more satisfying this was rather than decades old trend of having her live on. The lady's tired, let her rest, already! . 

Francois Girard's production was a most remarkable achievement, along with Maestro Gatti and the company achieving a true realization of gesamtkunstwerk the likes of which I've rarely seen at this level. Even in this barren post-apocalyptic wasteland, there was a genuine, if raw, beauty about it all. The choreographed movements of the Flower Maidens - like Ninja roses from Hell, will (along with everything else I saw and heard) be burned, forever in my mind. Literally, unforgettable. Wagner's score has my eyes moist, and a lump in my throat from the opening notes of the Vorspiel to the curtain's final fall and today's performance - visually and sonically was no exception.

While I used not to be a fan of Barbara Willis Sweet, her work for the Met has not only improved, her video direction for today's performance sets the benchmark for how it should be done.  There were blessedly few long, intrusive close-ups, and instead she chose to capture the stage either in its entirety, or large portions of it. I didn't miss seeing long stretches of singers' dental work or nose hair.  Not one iota.

Our theatre was not only packed, it seemed there were no defectors, with everyone remaining, cheering, bravoing and applauding until long after the final credits had faded.

I shall not forget this afternoon and the exemplary work the Met gave us from start to finish. I'm on a high right now that is going to stick around for days. I look forward to a (hopeful) release of this performance on Blu-ray, to experience this slice of Wagnerian heaven again . . . and again.

Met's New Parsifal: Broadcast Review

A good Parsifal stays with me for days and last night's prima threatens (happily) to do just that. I remained awake much of the night thinking about what I heard (and wish I could have seen). For the principal roles I cannot imagine a cast better than last nights.

I had reservations about Ms. Dalaymanin the first act, I like a Kundry to be a bit more "pliable" vocally, and at times
Dalayman had a thickness to her sound that I felt occluded the writing.Nonetheless, in Act II, particularly after her first long narration, and her exchange with Parsfial beginning "War dir fremd noch der Schmerz" . . . here was genuine drama between the pair and I sat up straight for the remainder of the act, sometimes with chills, sometimes with tears.

Peter Mattei gave one of the most exposed readings of Amfortas' first Grail narrative in my entire experience, the voice gloriously rich and pouring out with a velvety sheen that made the character's torment all the more heart rending. Emotionally, it felt as if he was holding nothing back and the voice responded in a manner that enhanced every syllable of the text. Beginning with his pained cry/command to keep the grail covered ("Nein! Lass ihn unhenthüllt! Oh!") my heart began breaking for this wounded grail king. I can only imagine the effect it had on the innocent fool . . . going directly to Wagner's directions being alternately petrified, profoundly moved, and transported.


While some felt Jonas Kaufmann in the title role sounded "tired," I heard nothing that would make me think such. That burly, rich sound which annoys some and thrills others, feels just right in this music (perhaps more than any of his other Wagner roles, though his recent Lohengrin was amazing is still resonates with me powerfullly). His scenes with Gurnemanz both in the first and third acts were highlights and there were moments when the flow of one's voice into the
others revealed a quality that made me think they could've been long lost brothers. Act II slowly, but eventually took fire and Kaufmann truly came into his own at that critical moment singing "Amfortas! Die Wunde! Die Wunde!" with a strength and volume (at least over the radio) that altered the course of the story (as it should). This moment of epiphany was truly revolutionary and I FELT Parsifal's transformation immediately. Amazing, really.

Evgeny Nikitin was a tremendous, evil-sounding Klingsor. I was fully amazed at the almost complete change of voice he made from his entrance "Die Zeit ist da." with this almost thin quality - then growing into menacing mastery as he
summons Kundry forth. Nikitin was appropriately chilling. I look forward to (eventually) seeing how he plays this.

I first saw Rene Pape's Gurnemanz in 2003 (meeting him briefly the night before) and I immediately felt in both voice and interpretation he belonged inthe company of Moll, Salminen and Talvela. In the Good Friday music, Pape's Gurnemanz had me in the palm of his hands. The softening of this character from the first act to this is expressed so beautifully and Pape's command of the language ensures certain phrases that can slip by as little more than beautiful noise from non-native singers are turned into magic. This was particularly noticeable in a phrase like Nun freut sich alle Kreatur" where just the way he pronounces the word "Kreatur" is capable of creating a feeling that goes beyond the notes and the text. Far beyond.

I've seen some very mixed reviews so far on the conducting of Daniele Gatti. I liked what I heard, a lot. Sure there were some problems in the opening Vorspiel . . . enough at the very beginning to actually cause me to cringe a
couple of times, as the synchronization between conductor and about half the orchestra struggled to stay together. Finally, at about 5 minutes in (right around when all we hear are the flutes) . . . following a luftpause they all
seemed to pull together and coalesce and I felt the magic I feared I might not hear. A couple of other bumps along the way aside, I felt Gatti's slowish approach worked very well.

Slow, however, was not what we heard at the opening of the second act. Here, Gatti and the band blasted their way through Klingsor's music in a manner that would've made Boulez' head spin . . . it certainly did mine, and I LOVED the
almost dizzying effect Gatti provided here. (No, I don't want to always here it this way, but it was fun, and why not have a little horror house fun here?) I felt the temple scenes worked beautifully, Gatti and his singers finding the right (if frequently slowish) pace and the final moments were sublime.

I read where someone mentioned that listening last night the final sung note of the opera was completely inaudible. Not over my transmission and I've played it several times . . . it's ethereal and floating just the way it is supposed to.

I loved the inteviews with Terrance McNally and first lady of punk (and a personal idol) Patti Smith. Each offered their own thoughts on Wagner in general and Parsifal in particular. Insightful, contemporary and thought provoking from a pair I'd expect nothing less from.

So, all-in-all a terrific night of music making, the Met's musical forces allowing me to hear my favorite work while far away from Lincoln Center. That's a miracle in itself.