Musik / operafilm

Parsifal


Anmeldelser (89)


The guardian

d. 29. mar. 2012

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Andrew Clements (musikanmelder)

d. 29. mar. 2012

"Janowski has impeccable Wagnerian credentials ... but in Parsifal his directness and sometimes rather abrupt approach seem less convincing, especially alongside the two outstanding recent versions, from Valery Gergiev and the Mariinsky, and Jaap van Sweden with the Netherlands Radio Orchestra. Janowski has a fine cast, but not an exceptional one ... Yet the set is beautifully engineered, and the presentation immaculate; it's just that Parsifal, of all operas, needs that bit more".


jcklassisk

d. 10. sep. 2013

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John Christiansen

d. 10. sep. 2013

"Dresdner Staatskapelles klangspil er forunderligt ... Vor danske bas Stephen Milling udnytter fantastisk flot mulighederne i Thielemanns tempo og formning af musikken. Hans sikre, flotte og menneskeligt varme stemme fylder ideelt, uden at han nogensinde presser på eller trættes ... Den anden store sanglige personlighed er Michaela Schuster ... Gralsridderne ligner rummænd og, andre er iklædt habittter fra 1920'erne ... Men musikalsk er det en enestående opførelse".


The guardian

d. 29. feb. 2014

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Andrew Clements (musikanmelder)

d. 29. feb. 2014

"Kaufmann's performance in the title role will doubtless be regarded as its main selling point ... but it's Elīna Garanča as Kundry, in her first Wagnerian role, whose performance is perhaps the most extraordinary ... The orchestral playing is as intense as anyone could want, and the closing pages are suitably transcendent ... If this doesn't supersede the finest existing Parsifals on disc ... it runs them very close in many respects".


RBB Radiodrei

d. 6. mar. 2024

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Kai Luehrs-Kaiser

d. 6. mar. 2024

"Die neue "Parsifal"-Aufnahme, live in Wien dirigiert von Philippe Jordan, ist stargespickt von vorne bis hinten: mit Jonas Kaumann in der Titelrolle, Elīna Garanča als Kundry und Ludovic Tézier als Amfortas. Live singen die das alle nicht oft - sondern geben hier nur ein kurzes Wagner-Gastspiel, bevor sie von dem gefährlichen Zeug wieder die Finger lassen. Umso mehr ist hier eine der rundesten "Parsifal"-Besetzungen seit Jahrzehnten zu bestaunen. Mit Georg Zeppenfeld führt ein fulminanter Gurnemanz durch den Abend".


Presto classical

d. 17. feb. 2014

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Katherine Cooper

d. 17. feb. 2014

"The cast is magnificent ... The biggest revelation is Peter Mattei's searing Amfortas ... [Kaufmann's] transformation from the gauche, feral boy of the first act to the grizzled spiritual leader of the last is masterfully paced ... Gatti lets everything unfold in its own time, to luminous, hypnotic effect".


MusicWeb international

2016 October

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Simon Thompson (musikanmelder)

2016 October

"Vurdering: Recording of the month" - "Dmitri Tcherniakov's vision of Parsifal is dark, thoughtful and, at times, quite troubling; but it's also fascinating ... It helps, too, that this is the best sounding Parsifal on disc in many a year ... Andreas Schager is pretty much perfect in the title role ... He is matched by René Pape ... and on every hearing he grows into the role with dark beauty and rich authority ... The other star, however, is Anja Kampe ... Her acting is extremely moving. Her singing is wonderful too ... If you're looking for a fresh take on the opera that will challenge and provoke you, then I strongly recommend this one. The musical performance is first rate, and the visuals will give you a lot to think about.".


MusicWeb international

2005 April

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Anne Ozorio

2005 April

"Vurdering: Recording of the month" - "Musically, this production is superb. Visually it is excellent. And the filming itself reaches the level of high art, a further plain of creative insight. It would please Wagner most, though, that this version is a true Gesamtkunstwerk ... It would be hard to beat this production for performance, all singers are specialists in their prime. But it is as a total work, with a radical understanding of Wagners deepest philosophical ideas, that this production will become "immortal"".


MusicWeb international

2005 May

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Colin Clarke (musikanmelder)

2005 May

"This is a fascinating interpretation of the Parsifal legend ... Well worth watching and listening. This is an interesting take on one of the greatest dramas ever written".


Presto classical

d. 17. feb. 2014

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Katherine Cooper

d. 17. feb. 2014

"The cast is magnificent ... The biggest revelation is Peter Mattei's searing Amfortas ... [Kaufmann's] transformation from the gauche, feral boy of the first act to the grizzled spiritual leader of the last is masterfully paced ... Gatti lets everything unfold in its own time, to luminous, hypnotic effect".


jcklassisk

d. 6. juli 2015

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John Christiansen

d. 6. juli 2015

"Vor fine bassanger Ulrik Cold synger gralsvogteren Gurnemanz, den gængse operalitteraturs længste parti ... rigt nuanceret og usædvanligt naturligt og smukt. Det er Wagner-sang på verdensplan personligt tolket ... Renè Kollo i det store titelparti har jeg aldrig hørt bedre ... Kegel og hans Radioorkester i Leipzig leverer en både spændende og smuk præstation. Der er flere grunde til, at denne Parsifal er et fund til prisen".


MusicWeb international

2018 February

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Simon Thompson (musikanmelder)

2018 February

"Musically - and, particularly, orchestrally - this Parsifal is very fine ... The singers are mostly old hands in their roles, and their experience reaps rich dividends. Christopher Ventris can no longer pull off the young innocent look, but his voice has deepened and enriched over the years ... But it's that director that causes this film's problems".


MusicWeb international

2024 April

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Morgan Burroughs

2024 April

"Wagner's last opera is a large work ... Many would consider the 1950s and 60s recordings of Hans Knappertsbusch to be the finest recordings of this opera, but this more small-scaled approach may appeal to those who want their Wagner to feel more intimate. Philippe Jordan is likely the main attraction here and his handling of the score is mostly fine ... with very fine playing from the orchestra ... For much of the rest of the opera, there is a pervasive feeling that he might be somewhat hindered in his conception by the quality of his soloists. The most famous of the primary cast is Jonas Kaufmann and while the core voice is more of a light lyric tenor, he darkens it in a way that some might find more suitable for a role like Parsifal ... Elīna Garanča too sounds underpowered ... It's a shame that I can't comment more upon the level of interpretation".


Jyllands-posten

d. 28. juli 2009

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John Christiansen

d. 28. juli 2009


Politiken

d. 21. feb. 2006

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Jan Jacoby

d. 21. feb. 2006

"Af den oprindelige histories ritualer og mirakler er ikke meget tilbage: intet gralstempel, ingen gral ... En rå dekoration af skudarret grå beton befolket af forhutlede lazaroner og udslidte soldater viser et samfund i dyb krise ... En ukontroversiel Parsifal er det ikke, men ukrukket, smuk og oprigtig med fremragende præstationer overalt".


Jyllands-posten

d. 30. mar. 2010

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John Christiansen

d. 30. mar. 2010


Kristeligt dagblad

d. 29. juli 2015

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Peter Dürrfeld

d. 29. juli 2015

"Måske vil den største attraktion for danske lyttere være Ulrik Cold (1939-2010), en af Danmarks mest karismatiske sangere i det 20. århundrede, der i rollen som Gurnemanz ikke blot fører Parsifal, men også os lyttere ind i gralsriddernes sagnomspundne rige. Et smukt og veritabelt giv dig god tid-sæt".


Kristeligt dagblad

d. 28. mar. 2012

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Peter Dürrfeld

d. 28. mar. 2012

"Man har samlet et hold sangere af fornemste karat ... Titelrollen tager ingen ringere end Plácido Domingo sig af ... Stemmen har fået en noget mørkere klang med årene, og det må indrømmes, at han er en noget bedaget herre til den rolle, men et unikum af en sanger er han immervæk ... De sande helte er imidlertid musikerne i orkestergraven, der under Thielemanns ledelse får Wagners righoldige partitur til at gnistre og gløde ... Alene forspillet på elleve minutter er en skønhedsåbenbaring".


Politiken

d. 16. maj 2006

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Thomas Michelsen

d. 16. maj 2006

"Thielemanns Parsifal er et hit. Sangerbesætningen er stærk med en flot og dynamisk Amfortas og en dramatisk nuancerende Gurnemanz ... Dertil kommer Thielemanns fornemmelse for Wagner, der her beviser sig for alvor. Wienerne giver ham den dér sitrende overjordiske strygersats og følger op med hele udtryksspektret".


Berlingske tidende

d. 2. maj 2006

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Søren Kassebeer

d. 2. maj 2006

"Christian Thielemann skaber ét langt, suverænt formet symfonisk forløb med præcis dén fornemme lyd, som man kan tillade sig af forvente sig af en liveoptagelse fra Wiener Staatsoper, og det er ganske formidabelt ... Alligevel er det svært at være ubetinget begejstret for denne "Parsifal". Der er lidt old boys and girls over indspilningen ... Først og fremmest et must for dem, der vil høre Plácido Domingo i et af hans sjældne Wagner-partier".


Berlingske tidende

d. 4. sep. 2007

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Søren Kassebeer

d. 4. sep. 2007

"Når denne "Parsifal" alligevel fremstår lidt mat, skyldes det, at den store Wagner-tenor Sigfried Jerusalem er hørt bedre, og at Wolfgang Wagner ikke kan løbe fra, at han ikke er lige så genial som sin tidligt afdøde storebror, Wieland Wagner ... Horst Stein på dirigentpodiet når ikke ud over den udmærkede, men noget rutineprægede præstation".


Jyllands-posten

d. 20. aug. 2007

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John Christiansen

d. 20. aug. 2007

"Wolfgang Wagners sidste opsætning af Parsifal er meget smuk i scenebilledets farvespil og arkitektur. Jeg husker den som lidt kedelig, men dvd-udgaven åbner for nye, spændende sider ... Velgørende med så gennemarbejdet en musikalsk opførelse. Horst Stein dirigerer den vidunderligt med en tæt og smuk orkesterklang ... En gevinst er, at vi får Leif Roars Klingsor sunget med den isnende ondskab, som skal til".


Jyllands-posten

d. 9. apr. 2006

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John Christiansen

d. 9. apr. 2006

"Man hører, hvordan Domingos tyske udtalelse er blevet bedre, og hvordan hans musikalske nuancering er vokset betydeligt ... Christian Thielemann er en formidabel klangarkitekt som Parsifal-dirigent, og Wiens Statsoperas Orkester er i bedste opstilling ... Der er en indre ro i Thielemanns gengivelse, som alligevel har mere dramatiske impulser ... Sangerbesætningen er helt igennem god".


Weekendavisen

d. 21. apr. 2006

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Peter Johannes Erichsen

d. 21. apr. 2006

"Selv han [Domingo] ønsker man stikker piben lidt ind, når dirigenten Christian Thielemann løfter orkesterspillet til forjættende højder ... Thielemann er en klangkunstner vel uden lige blandt tidens dirigenter ... Dele af sangerstaben er ung, det er sjældent at høre den gamle gralsridder Gurnemanz så lys og frisk som i bassen Franz-Joseph Seligs udførelse ... Med denne nye "Parsifal"-indspilning er vi tilbage på den sendestyrke, hvormed dirigenten Hans Knappertsbusch i 1951 genindviede festspillene i Bayreuth".


Weekendavisen

d. 5. aug. 2011

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Peter Johannes Erichsen

d. 5. aug. 2011

"Alt er en lammende selvhøjtidelig langtidsparkering af mennesker og synes at foregå i en verden af gigantiske maltbolsjer. Sinopoli vælger afsindigt langsomme tempi, men Elming står distancen og er en fuldbåren Parsifal over for Linda Watsons frygtindgydende Kundry".


BBC music magazine

2014 February

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Michael Tanner (musikanmelder)

2014 February

"This is an impressive but wildly idiosyncratic account of Wagner's last drama, at any rate from the visual and dramatic point of view ... Why there is a snake (a real one) ... why there is a lovely German Shepherd dog ... why so much of the staging is in utter darkness, and so on ... Fortunately the musical side of thing ... is consistently on the highest level ... In sum: If you think you know Parsifal well, get this".


Diapason

2013 decembre

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Emmanuel Dupuy

2013 decembre


BBC music magazine

2010 October

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Michael Scott Rohan

2010 October

"Vurdering: BBC music choice" - "What really distinguishes this, though, is Gergiev. His reading is vivid and luminous, generally expansive but with fluidly shifting tempos, unashamedly guilty of theatrical excitement".


Klassisk

2012, nr. 25

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Steen Chr. Steensen

2012, nr. 25

"Med 20 års forsinkelse er begivenheden nu udgivet på dvd - og hvilket herligt gensyn! ... Daniel Barenboims evne til at forme musikken, så den får et helt særligt liv ... Harry Kupfers iscenesættelse ... er henlagt til en blanding af fortid og fremtid ... en umenneskelig high tech-kulisse ... Glæden over at gense og genhøre Poul Elming i rollen som Parsifal ... Denne Parsifal holder stadig - 20 år senere".


Diapason

2012 juillet-août

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Benoît Fauchet

2012 juillet-août

"Le chant sobrement éloquent et assez touchant de Poul Elming ... Sans doute pas le plus grand Wagner de Kupfer (son Vaisseau fantôme à Bayreuth!) ni de Bareboim (son Tristan avec Chéreau à Milan!), mais assurément un grand Parsifal".


BBC music magazine

2011 November

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Michael Tanner (musikanmelder)

2011 November

"This new recording of Wagner's last work is in most respects very fine, and for me much superior to the one released last year from the Mariinsky under Valery Gergiev ... Perhaps the main glory here is the superb playing of the Netherlands Radio Philharmonic Orchestra".


Klassisk

2014, nr. 33

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Steen Chr. Steensen

2014, nr. 33

"Symbolerne står i kø, når Girard instruerer, og slutbilledet er utrolig smukt med en gylden himmel og lysstrejf, der fortæller om håb ... Der er god grund til at se denne opsætning fra Metropolitan ... Jonas Kaufmann er så strålende rigtig ... som en Parsifal, der finder renhed og tro. Men også fordi hele sangerholdet er så eminent ... Daniele Gatti sørger for et smukt, malende orkesterspil".


BBC music magazine

2014 June

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David Nice

2014 June

"Vurdering: BBC music DVD choice" - "Kaufmann is the Parsifal we've all been waiting for ... Matching his agonies are those of Peter Mattei's Amfortas and Katarina Dalayman's lustrous, secure Kundry, while the relaxed, minimal gestures of Rene Pape's Gurnemanz bely the vocal armoury he unleashes in the last Act. Gatti's pacing isn't my ideal ... but on its own terms it's remarkable".


BBC music magazine

2024 October

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Christopher Cook (musikanmelder)

2024 October

"Andreas Schager is a magnificent Parsifal, tireless throughout with an almost lyric style that embraces every turn of the text. Elīna Garanča's Kundry is at her most resplendent in Act 2 with a heartfelt 'Ich sah das Kind' ... George Zeppenfeld shows why he is the Gurnemanz of choice at present ... Doubts abour the performance begin in the pit. As ever the Bayreuth Orchestra deliver ... Yet Pablo Heras-Casado's tempos are often unusual".


BBC music magazine

2012 June

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Michael Tanner (musikanmelder)

2012 June

"Vurdering: Recording of the month" - "This new performance ... takes its place in compellingness and emotional depth ... Marek Janowski, with his superb vocal and orchestral forces, manages to convey all this without false rhetoric or overemphasis ... Christian Elsner is a wonderfully sensitive and expressive Parsifal ... The recorded sound is sensational ... The finest modern traversal on disc of Wagner's achievement".


Diapason

2016 novembre

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Emmanuel Dupuy

2016 novembre


Klassisk

2017, nr. 44

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Andrew Mellor

2017, nr. 44

"Tcherniakovs iscenesættelse griber ind i forlægget og forvirrer undervejs, men i bund og grund er hans skildring af ridderfællesskabet og deres ærkefjende Klingsors verden solid ... Musikalsk set dirigerer Daniel Barenboim med den opmærksomhed på teksten, som Wagner hungrede efter i denne opera (man hører hvert et ord) ... Sangerne er gode over hele linjen".


BBC music magazine

2017 February

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David Nice

2017 February

"Anja Kampe, most intense of Wagnerian singing actresses, goes all the pitiful way; I wept for her in Act III, and began to see a big love story between her and tortured adolescent Parsifal. Andreas Schager is a real find, plausibly anguished ... The orchestral colours, with excellent cello and clarinet phrasing, win back some sympathy".


BBC music magazine

2008 October

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Michael Tanner (musikanmelder)

2008 October

"Vurdering: BBC music choice" - "Hans Hollmann may have bizarre ideas about the staging, but he can get singers to act, and the production never impedes the overwhelming intensity of the relationships between the central characters".


Klassisk

2008, nr. 11

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Steen Chr. Steensen

2008, nr. 11

"Det er ganske enkelt en gave. Den næsten 90-årige maestro dirigerer med en nerve, der får musikken til at gløde af nærvær i hver detalje ... I Hollmanns iscenesættelse koncentreres fortællingen om det menneskelige aspekt. Parsifal i afslappet jakke, krøllede bukser og en T-shirt ... Der mangler en sakral dimension - noget helligt, der trods alt passer til de tanker, Wagner gjorde sig ... Sangerpræstationerne er imponerende".


BBC music magazine

2017 December

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Michael Tanner (musikanmelder)

2017 December

"This production from last year's Bayreuth Festival was involved in even more controversy than that enterprise usually generates, with a replaced director, a conductor who took over in the last weeks of rehearsal, and police on guard round the Festspielhaus in case Muslims were upset ... Haenchen's conducting is fine throughout, tempos on the quick side but not feeling it, with superb climaxes. The Gurnemanz of Georg Zeppenfeld is magnificent ... Vogt has a voice which is ideal for the title role, though his acting isn't always; and Ryan McKinney's Amfortas is both painful and beautiful".


BBC music magazine

2014 June

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David Nice

2014 June

"Vurdering: BBC music DVD choice" - "Kaufmann is the Parsifal we've all been waiting for ... Matching his agonies are those of Peter Mattei's Amfortas and Katarina Dalayman's lustrous, secure Kundry, while the relaxed, minimal gestures of Rene Pape's Gurnemanz bely the vocal armoury he unleashes in the last Act. Gatti's pacing isn't my ideal ... but on its own terms it's remarkable".


Klassisk

2014, nr. 33

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Steen Chr. Steensen

2014, nr. 33

"Symbolerne står i kø, når Girard instruerer, og slutbilledet er utrolig smukt med en gylden himmel og lysstrejf, der fortæller om håb ... Der er god grund til at se denne opsætning fra Metropolitan ... Jonas Kaufmann er så strålende rigtig ... som en Parsifal, der finder renhed og tro. Men også fordi hele sangerholdet er så eminent ... Daniele Gatti sørger for et smukt, malende orkesterspil".


Operabladet Ascolta

(2015) 34. årgang nr. 2

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Henrik Marcussen

(2015) 34. årgang nr. 2

"Der er flere grunde til at omtale denne nyudgivne, ældre, man langt fra bedagede indspilning af Parsifal ... Et smukt vidnesbyrd om en stor dansk bassanger ... Nybrydende, indsigtsfuld og anderledes ... Såvel kor som orkester og sangere er på niveau med de bedste indspilninger, der findes ... Kollo er her på toppen - ung og med en strålende lys og sikker stemme ... En i alle henseender anbefalelsesværdig Parsifal".


Diapason

2015 octobre

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Didier van Moere

2015 octobre


BBC music magazine

2017 September

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Michael Tanner (musikanmelder)

2017 September

"This is an uneven performance and production of Wagner's last drama ... Iván Fischer is capable of great things, and with the Royal Concertgebouw Orchestra in the pit there are bound to be some wonderful sounds in this subtlest ... of Wagner's scores ... There needs to be, because Anish Kapoor's sets are bewildering, and so, frequently, is Pierre Audi's direction ... Of the singers, Alejandro Marco-Buhrmester is great as Amfortas, Falk Struckmann is a tireless and moving Gurnemanz, while Petra Lang is wild, sometimes in the wrong way, as Kundry".


Klassisk

2006, nr. 2

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Bo Holten

2006, nr. 2


BBC music magazine

2011 August

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Michael Scott Rohan

2011 August

"I wouldn't want this every time, but Sinopoli's grandeur and delicacy wins me over, and newcomers may find it accessible".


Operabladet Ascolta

(2014) 32. årgang nr. 6

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Henrik Marcussen

(2014) 32. årgang nr. 6

"En dybt engageret udførelse ... Hvor scenografien sikkert vil støde mange wagnerianere, er der ingen problemer med sangerbesætningen. Sydafrikaneren Johan Bothas har ikke et attraktivt ydre, men stemmemæssigt en formidabel styrke. Som Kundry er Michaela Schuster slet og ret perfekt".


Klassisk

2013, nr. 31

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Steen Chr. Steensen

2013, nr. 31

"Den musikalske side er fremragende, sangerne ligeså, mens iscenesættelsen er dybt problematisk ... Her lykkes det i en sjælden grad for Thielemann at frembringe en orkesterklang, der på en gang har fylde, er dramatisk og er så transparent, at der gives masser af rum til sangerne ... der overgår hinanden og skaber nye standarder for, både hvor lyrisk og dramatisk Wagner kan fortolkes. I de store roller stråler Johan Bohta ... Stephen Milling ... Michaela Schuster ... Det værste er, at konceptet for denne iscenesættelse er så flagrende, spekulativ og hjælpeløs".


Klassisk

2024, nr. 73

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Marie-Louise Zervides

2024, nr. 73

"Wienerorkestret spiller formidabelt under Philippe Jordan ... Jonas Kaufmann som Parsifal er nok tænkt som pladens mest oplagte salgsvare, men han er faktisk ikke den mest imponerende på solistholdet ... Elina Garanča er fremragende i sin debut som Kundry ... både musikalsk og dramatisk ... Alt i alt er denne udgivelse trods enkelte castingproblemer bestemt værd at have på hylden".


BBC music magazine

2024 April

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George Hall (musikanmelder)

2024 April

"A exceptionally challenging assignment, Wagner's final music drama shows the permanent forces of the Vienna State Opera equal to every demand on this live account ... The orchestral tone balances sensitivity to texture with sumptuosness, while there's an equally strong showing from the company's choral forces as well as fine work in the many smaller roles. Conductor Philippe Jordan presents an authoritative overveiw of the vast score while remaing observant of its detail ... Principal roles are more mixed in terms of success".


Fono Forum

2024 März

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Johannes Schmitz

2024 März

"Empfehlungen des Monats: Bei den Sängern, alle eine Klasse für sich, gäbe es höchstens geschmackliche Anmerkungen, die Spitzenqualität ist unstrittig. Auch Chor und Orchester sind allererste Sahne, die Aufnahme und die warme Abmischung des Live-Mitschnitts überzeugen".


The gramophone

2014 February

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Arnold Whittall

2014 February

"Haenchen directs an occasional over-fervent but generally well-paced reading, and the singers are excellent. In his final exhortation to the assembled company, Andrew Richards crowns an account of the title-role that is appropriately forceful without turning blustery".


International record review

2014 February

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Roger Pines

2014 February

"Even if the video direction were of a higher standard, however, the production ... would remain perplexing. During much of Act 1 the screen is totally dark ... All I can say is why? And again, why? ... Fortunately, the musical performance is superb. The performers all operate from a base of sound musicianship, guided by the lyrical, immaculately controlled, unfailingly sensitive conducting of Hartmut Haenschen. The Monnaie Players, fine throughout".


International record review

2010 September

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Hugh Canning

2010 September

"No Parisifals are perfect: this one has the benefit of superb modern SACD sound ... the outstanding contemporary interpreter of Gournemanz and Gergiev and his orchestra on inspired form".


The gramophone

2010 awards

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Arnold Whittall

2010 awards

"Vurdering: Editor's choice" - "If this is indeed a "mannered" Parsifal, in the way that those conducted by Knappertsbusch, Kempe, Barenboim or Thielemann are not, it has an imaginative force, overall, which pushes any hints of contrivance to the musical and dramatic margins".


International record review

2012 July/August

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Robert Levine (musikanmelder)

2012 July/August

"A must for those who love this work ... Like the interpretation or not, it's pretty riveting, due mainly to the commitment of the cast to character and to superb singing and playing. Poul Elming, a strapping Danish baritone-turned-tenor, is remarkable in the title role, his concentration and reactions on a par with Jon Vickers's and the voice in pristine shape ... Waltraud Meier remains the Kundry of our time and this, her third DVD, is her best ... Even if you own the brilliant Nagano set, this one is a necessity ... How magnificent this is!".


International record review

2011 November

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Robert Levine (musikanmelder)

2011 November

"So this is almost an alternate view of Parsifal, not exactly light (that would be impossible) but reserved and dutiful. The sound is similarly warm and spacious. For sheer beauty it is miraculous, but there is no way to explain a Parsifal with such little vocal heft or depth, regardless of artistry".


Klassisk

2014, nr. 32

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Per Rask Madsen

2014, nr. 32

"Det mærkes, at vi bevæger os på modigere vande end så ofte i Met-produktioner ... Som Parsifal er han [Jonas Kaufmann] klart mere på hjemmebane".


The gramophone

2014 June

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Arnold Whittall

2014 June

"This is very much Wagner for the 21st century".


Diapason

2014 mai

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Emmanuel Dupuy

2014 mai

"Vurdering: Diapason d'or".


The gramophone

2024 October

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David Patrick Stearns

2024 October

"The most distinctive element ... is conductor Pablo Heras-Casado. Though Wagner gave Parsifal the fancy moniker Bühnenweihfestspiel, Heras-Casado treats it like what it is - an opera with sharp dramatic contours and distant echoes of Meyerbeer and Verdi - full of respect but not reverence ... Heras-Casado blows the incense out of 'Parsifal' ... A significant addition to the 'Parsifal' discography".


Klassisk

2024, nr. 74

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Andrew Mellor

2024, nr. 74

"Parsifal blev bogstaveligt talt skabt til operahuset i Bayreuth, og den lyder helt særlig, når den opføres dér - selv når den dirigeres så distinkt, som det er tilfældet i denne 2023-produktion med den spanske dirigent Pablo Heras-Casados ... Men den lød storslået, især Elina Garanča, der sang Kundrys mangesidige parti, og Bayreuth Festival Kor, som lød usædvanligt minutiøst og kraftfuldt".


Børsen

d. 15. dec. 2006

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Ulrik Cold

d. 15. dec. 2006


International record review

2012 September

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Hugh Canning

2012 September

"As in the earlier releases, the fine orchestral playing of Janowski's Rundfunk-Sinfonieorchester Berlin, the singing of the Rundfunkchor and the German conductor's intensely musical, Kempe-like insights into these great scores are of consistently high quality. Indeed, leaving aside the voices, these are among the finest-sounding complete Wagner opera records for decades ... Lohengrin has its moments ... but the soloists are more variable ... Günther Groissböck ... the latest addition to a roster of excellent German-speaking low basses ... Markus Brück ... is luxury casting ... The other four principals I find more problematic ... though I am sure some will react differently to Vogt's Lohengrin".


The gramophone

2012 October

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Mike Ashman

2012 October

"At the present stage of listening and living-with, this apparently one-off performance seems too full of imbalances to promise as much as Holländer and Meistersinger, its previous Janowski/Pentatone stablemates".


International record review

2012 September

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Hugh Canning

2012 September

"As in the earlier releases, the fine orchestral playing of Janowski's Rundfunk-Sinfonieorchester Berlin, the singing of the Rundfunkchor and the German conductor's intensely musical, Kempe-like insights into these great scores are of consistently high quality. Indeed, leaving aside the voices, these are among the finest-sounding complete Wagner opera records for decades ... Christian Elner proves an inspires choice as Parsifal, dark-toned yet lyrical ... Michelle DeYoung [Kundry] delivers what is by some margin her most compelling performance to date ... All told, this is a Parsifal - in modern sound - to rank with some of the great performances on disc and the most desirable of the Janowski series so far".


Operabladet Ascolta

(2001) 20. årgang nr. 1

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(2001) 20. årgang nr. 1


The gramophone

2016 October

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Mike Ashman

2016 October

"Musically it's first-class ... The casting is pretty much ideal and all deliver superbly. Kampe proves with her gleaming high notes that this role needs a soprano ... [Schager] has both weight and lyricism. Pape now colours more committedly than in previous recordings of the role; Koch and Tómasson also do very well. Sound is good".


Fono Forum

2016 November

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Manuel Brug

2016 November

"Tcherniakovs nüchtern-abgeklärtes Bühnen-weihfestspiel ... Grau in Kackbraun ist hier die Gralswelt und ohne jede Ergreiffenheit ... Parsifal erscheint als reiner Bergfex-Tor im Freeclimber-Outfit ... Passen dazu war die intensive Kundry der Anja Kampe als ewige Reisende mit Weekender-Gepäck einhergestapft ... Erlösung irgendeinem Erlöser, das ist hier nicht. Trotzdem spannend".


The gramophone

2009 March

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Mike Ashman

2009 March

"A production best heard and not seen thanks to its lack of visual spectacle ... The cast is uniformly strong and in good form".


Fono Forum

2017 September

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Manuel Brug

2017 September

"Aus Bayreuth kommt per DVD der Parsifal aus dem letzten Jahr ... Zumindest für das Dirigat von Hartmut Haenchen gibt es eine Empfehlung ... So blankgeputzt hat man das Bühnenweihfestspiel noch nie gehört".


The gramophone

2017 Awards

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Mike Ashman

2017 Awards

"Haenchen's belated Festival debut fields all his customary research on the score ... The cast fit well, with McKinny outstanding in mood and ... in the balance between hysteria and pain. Pankratova encompasses Kundry's tricky range in Act 2 with aplomb ... Vogt sounds more natural in this role than as Lohengrin. Zeppenfeld contributes another multi-layered reading of an 'old' Wagner bass".


Klassisk

2014, nr. 32

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Per Rask Madsen

2014, nr. 32

"Det mærkes, at vi bevæger os på modigere vande end så ofte i Met-produktioner ... Som Parsifal er han [Jonas Kaufmann] klart mere på hjemmebane".


The gramophone

2014 June

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Arnold Whittall

2014 June

"This is very much Wagner for the 21st century".


Diapason

2014 mai

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Emmanuel Dupuy

2014 mai

"Vurdering: Diapason d'or".


The gramophone

2017 August

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Mike Ashman

2017 August

"Editor's choice: As in his Ring, Audi has achieved performances of exceptional emotional detail from his soloists, none more than Petra Lang's Kundry, who gives us everything ... Ventris too - and bravely achieves a perfect unmannered neutrality [as Parsifal] ... The other principals make up a supportive team ... Well filmed and recorded, this is an essential purchase for Lang and for Audi's direction, a straight but strong rival to existing competition".


Berlingske tidende

d. 27. okt. 1999

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d. 27. okt. 1999


Kristeligt dagblad

d. 23. aug. 1999

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d. 23. aug. 1999


Jyllands-posten

d. 3. aug. 1999

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d. 3. aug. 1999


Jyllands-posten

d. 1. mar. 2004

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d. 1. mar. 2004


Børsen

d. 15. dec. 2006

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af

Ulrik Cold

d. 15. dec. 2006


BBC music magazine

2007 October

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Michael Scott Rohan

2007 October

"A simple, beautiful staging ... Sotin near-ideal, Kundry and Amfortas slightly less so, but Stein's conducting is soundly theatrical".

Vurdering (performance): 5/5.

Vurdering (presentation): 4/5.


The gramophone

2013 October

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Mike Ashman

2013 October

"The singing cast are very fine and, like his players, seem to have studied with their conductor in Goodall-like detail. Botha certainly provides fine singing in the title-role ... Another highlight is the near-deranged agony of Amfortas [Wolfgang Koch] ... Both Grail scenes are fully staged, rather than just stood and sung and are almost unbearably moving ... All credit to Thielemann and the festival ... for such a strong event".


The gramophone

2024 April

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Peter Quantrill

2024 April

"Editor's choice: The star tenor [Kaufmann] sounds like a weather-beaten wanderer even from his first entrance, though untouched by his recent vocal afflictions ... This is not conducting that draws attention to itself by means of extremes of tempo or hyper-refined textures. For a Parsifal to be led so vividly by the personalities on stage makes a welcome change".


Politiken

d. 26. dec. 2002

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d. 26. dec. 2002


Operabladet Ascolta

(2003) 21. årgang nr. 5

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(2003) 21. årgang nr. 5



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