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RECORDINGS
Historical
WAGNER: PARSIFAL
 Mödl; Windgassen, Neidlinger, Cramer, Rohr, Sentpaul; Stuttgart State Opera Chorus, Paris Opera Orchestra, Leitner. Profil Hänssler PH09009 (4)
Martha Mödl's Kundry and Wolfgang Windgassen's Parsifal are well known to record listeners, especially older ones, having been immortalized on the classic 1951 Hans Knappertsbusch-led Bayreuth Parsifal, long available commercially. Both are in compelling form in this 1954 performance from the Paris Opera. Mödl sings with characteristic intensity and exciting high Bs but also infuses the seductive music of Act II with a tenderness she is not always given credit for. Windgassen's lyricism and sweetness of tone give consistent pleasure, as does his insightful phrasing.
The noteworthy aspect is the conducting of Ferdinand Leitner, who appeared at Bayreuth only for one summer (1960, in Lohengrin, sharing duties with Lorin Maazel) but conducted many Wieland Wagner productions at the Stuttgart State Opera (whose chorus sings here). Chicagoans will remember his Wagner in the 1970s and '80s. I recall favorably a 1973 Siegfried, although it was cut, which I thought might be the case here, especially after looking at the timings. In fact, the performance is complete but a good half hour quicker than Knappertsbusch's Bayreuth performance the same year (on Melodram, also with Mödl and Windgassen). Yet Leitner's tempos are entirely convincing; his well-judged dynamic shadings and willingness to broaden tempos work to achieve a performance that is strong in expressive values while theatrically vital. And the Paris Opera orchestra plays remarkably well.
The problem is with the supporting cast, although it is interesting to hear Gustav Neidlinger as Amfortas rather than as Klingsor, which he sang at Bayreuth in 1954. He is more convincing as the wounded Grail custodian when raging with Alberich-like intensity than when articulating quieter passages. (Hans Hotter, Bayreuth's Amfortas, who excels in both aspects of the role, is more satisfactory.) On the other hand, Neidlinger's Bayreuth Klingsor easily outclasses the pedestrian reading of Heinz Cramer on this set. Otto von Rohr, though gravelly of voice and not terribly imaginative, is a respectable Gurnemanz, but he is no match for Josef Greindl in his prime. Bayreuth's Wilhelm Pitz-drilled chorus also takes the palm. Still, because of Leitner, I can envision listening to this Parsifal again.
GEORGE LOOMIS
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