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Opera News
Wagner: Parsifal Meier; Jerusalem, Hölle, van Dam, Von Kannen, Tomlinson; State
Opera Chorus, Berlin Philharmonic, Barenboim.
Most performances of Parsifal are judged by the quality of the devotional aspects -- namely, the first and third acts. This one is set apart by the second scene of the second act, which, simply put, is as fine as any ever put on disc. Much of the credit goes to the Kundry of Waltraud Meier -- a simply amazing vocal performance, coming as close to the manifold aspects of that complex role as I have heard. The seductive tones and phrasing of the introductory statements, the touchingly simple yet reverent traversal of "Ich sah das Kind" and most especially the whiplash steel of the portion where Kundry, angered at being repulsed, drives herself to unbalanced fury. The voice is in healthy, blooming shape, capable of these coloristic changes: the result is gripping. Meier is partnered by an involved, aware Parsifal, Siegfried Jerusalem, so that the final sections of the duet blaze from the speakers, aided by Daniel Barenboim's sympathetic conducting, at its strongest here. Jerusalem, a finely wrought Parsifal, misses complete realization of the pure fool, become wise and redeeming leader, only because the voice, strong as it is, does not possess the necessary aura of compassionate persuasion: there is too much Loge in it (or perhaps in my hearing of it). José van Dam is a properly anguished Amfortas, whose velvet voice somewhat belies that anguish, Günther von Kannen an acceptable Klingsor and Matthias Hölle the only slight disappointment as Gurnemanz: the voice has a tendency to wobble, and his reading of this profoundly simple yet difficult role is unduly straightforward. I want more feeling of pulse in Barenboim's conducting, but the sounds he provides are rich and strong. The recording favors the voices over the orchestra, except at crucial times. The second half of Act II is the center of things here, with Meier at the center of this view of Parsifal. - P.J.S.
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