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Woodduck - David Hamilton was one of the best, wasn't he? His reviews were not just opinions, but BACKED-UP with a very-solid knowledge of vocalisms, techniques ... past, and always SPECIFIED why the "old guys/old girls" were so excellent ... as the latter (Lehmann, Melchior, Tito Schipa, etc., etc.) established many of the standards of how singing should be DONE.
Yes indeed! With Hamilton and the young but brilliant Conrad L. Osborne on board, High Fidelity was sacred scripture for me in my high school years. I can't even estimate how much of my musical education, and especially my understanding of opera and singing, I owe to those men. Hamilton's been gone for almost a decade, but I'm delighted that Osborne is still writing and publishing on his own.
 

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And what are your thoughts on Gottlob Frick's Gurnemanz? Solti's Parsifal was the first recording of this great opera I ever listened too, and while I've always been in awe of the orchestral passages and the choral singing, I've always feet slightly let down by Frick's singing. I still find it good, even more when I remember that he was then 66 years old, but Gurnemanz being one of my favourite vocal part, I prefer singers with more steadiness and vocal heft to portray him. Maybe Frick could have better displayed these qualities in a recording done earlier in his career, and it is a shame he didn't have the chance to .
Actually, there's a live performance from the late 50's from Covent Garden, conducted by Kempe, issued by Testament. The sound isn't great, but Frick is in better vocal shape. Still, I think that other than Ludwig's Kundry, Frick's Gurnemanz is among the only redeeming features of the Solti recording.
 

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Any fans of Armin Jordan's recording, originally on Erato? I find the conducting disappointing, but Minton is an excellent Kundry, and Robert Lloyd is among my favorites in the role of Gurnemanz - it's a role that suited him perfectly, and he was in his vocal prime when the recording was made.
 

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Any fans of Armin Jordan's recording, originally on Erato? I find the conducting disappointing, but Minton is an excellent Kundry, and Robert Lloyd is among my favorites in the role of Gurnemanz - it's a role that suited him perfectly, and he was in his vocal prime when the recording was made.
I'm a fan of the Jordan, and I agree with your summary. It's not the greatest from a conducting POV, but it the cast is fine, Minton and Lloyd especially. Aage Haugland as Klingsor is no Neidlinger - who is? - but he's perfectly fine. It's a recording that's well worth hearing, imho.
 

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Haydn, Mozart, Vivaldi, Wagner
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Discussion Starter · #47 · (Edited)
Well, Itullian, hope you find a Parsifal that you'd like, the best. Considering the many recommendations, after your initial post, I don't think you can go WRONG, with any of them -eh?
Me? I love all the ones i listed. I'm easy. :)
I love Karajan and both Levine's.
I love Solti's.
I love Kna 62
I love Kubelik.
Boulez and Kegel i find too fast, but still enjoy them from time to time.
 
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OffPitchNeb - Any, more thoughts about Kurt Moll, in the '85 Parsifal? I'm sure that Vickers "held his own", so to speak, although maybe not quite a match for "the exceptional one"/Melchior, at the latter's best ... I don't know. As for Gurnemanz, I still disagree with David Hamilton's review of the Muck/1927 version of Act III. Hamilton mentioned that Ludwig Hofmann was a bit "hectoring", but I heartily disagree, after many times of listening. Bronsgeest & Pistor were OK, in their ways ... but it's HOFMANN, allied with those great tempos/continuances of Karl Muck, who really carries the day, so to speak. This is one of the great recordings of Wagner, even in it's "small" part or portion, of even the many excellent ones that were recorded, in days gone by. ... Still, Moll has an excellent reputation, and I have a small number of his very-fine recordings. Thanks.
Kurt Moll is excellent as Gurnemanz in a 1982 (30 October) performance from the Théâtre des Champs-Elysées in Paris conducted by Marek Janowski. Incidentally I see I missed that from my list of Parsifals! Mea culpa. ( Latin for my bad!:lol:)
 
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Discussion Starter · #50 · (Edited)
Just finished Act 1 of Solti's Decca Parsifal
and find it simply awesome.
I mean gorgeous! And i love DFD.
I guess ignorance is bliss :tiphat:
 

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Itullian - (Act I/"gorgeous") - Great! ... When you're through with Act III, would you, very-kindly, do me a favor? Maybe look back at the Feb. 12, 21:40 and 21:46 posts, in a comparison of Solti and Karl Muck, around 50 years apart? ... I think you'd find the David Hamilton column informative, and can give a better balance/perspective of the differences between the two conductors, and their approaches & ultimate results. If you don't want to, no problem ... and thanks.
 

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Barbebleu - Your 10:20, yesterday - Thank you! ... and an appetite is truly WHETTED, to investigate the Moll voice, more. Rene Pape, in the very-short excerpts on YouTube, was/is a very-fine Gurnemanz, also. Maybe Ludwig Hofmann, Moll and Pape are THE best of all, in this pivotal role.
 

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Any fans of Armin Jordan's recording, originally on Erato? I find the conducting disappointing, but Minton is an excellent Kundry, and Robert Lloyd is among my favorites in the role of Gurnemanz - it's a role that suited him perfectly, and he was in his vocal prime when the recording was made.
Lloyd is excellent in Syberberg's weirdly entertaining Parsifal movie. Almost takes your mind off Parsifal turning into a girl.
 

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Woodduck - Your 00:48, yesterday - Damn, but ol' High Fidelity was such a FINE mag, with great reviews, ads for Garrard turntables, open-reel decks, etc., etc.! I hope you know you can find many of the old issues on www.americanradiohistory.com. ... Also, in 1983, Kenneth Furie (also of High Fidelity) had a nice retrospective of Wagner operas (outside of the Ring), and had some nice choices, for Parsifal. The latter included FOUR, from the old Melodram label, plus Herb von Karajan, Solti (of course), and a favorite - Knappertsbusch/Philips/1962.
 

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wkasimer/Bill Kasimer & Woodduck - (Jordan/1981) ... Well, am looking RIGHT AT a High Fidelity review (Ken Furie/1983) of the same, and Furie mentions that "Probably the most attractively sung complete Parsifal is (Reiner) Goldberg's ...", and etc. ... Also, Woodduck - wondered ... when exactly did Parsifal turn into a GIRL, except in that Syberberg movie? Maybe that's why some of us don't go to movies very much, anymore .... haha, kidding, but only in a way. ... Thanks.
 

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Woodduck - Your 00:48, yesterday - Damn, but ol' High Fidelity was such a FINE mag, with great reviews, ads for Garrard turntables, open-reel decks, etc., etc.! I hope you know you can find many of the old issues on www.americanradiohistory.com. ... Also, in 1983, Kenneth Furie (also of High Fidelity) had a nice retrospective of Wagner operas (outside of the Ring), and had some nice choices, for Parsifal. The latter included FOUR, from the old Melodram label, plus Herb von Karajan, Solti (of course), and a favorite - Knappertsbusch/Philips/1962.
Thanks for the tip about Furie. I was no longer paying attention in the 1980s, so I missed his Wagner survey. Back in the late '60s the Wagner discography was Osborne's work. There were far fewer recordings to consider then, and only two of Parsifal.
 

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Woodduck - You're welcome, and despite there being only TWO recordings of Parsifal, in the C L Osborne days, I don't think the ones, afterwards, have added a substantial MUCH, after all. ... Also, maybe there could be a "show of hands", for the greatest tenor/Parsifal, of all. My always/first choice is the Danishman, even tho he has no recorded form (as far as I know) of a COMPLETE Parsifal, in it's entirety. He, of course, is the Lauritz Melchior gentleman ... possessed-of one of the most-heroic, yet often SUBTLE Wagnerian tenors of all. Conrad Osborne, of course, described his contributions, in the "old" magazine, much to our GAIN, I think.
 
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