Cher Public

Rédempteur à toute vitesse

This week, Our Own Jungfer Marianne Leizmetzerin presents what is perhaps the briefest Bühnenweihfestspiel on record, a 2005 performance of Parsifal from Bayreuth conducted by Pierre Boulez.

Richard Wagner: Parsifal

Bayreuther Festspiele
Pierre Boulez, conductor
29 July 2005

Amfortas – Alejandro Marco-Buhrmester
Titurel – Kwangchul Youn
Gurnemanz – Robert Holl
Parsifal – Alfons Eberz
Klingsor – John Wegner
Kundry – Michelle de Young
1. Gralsritter – Clemens Bieber
2. Gralsritter – Samuel Youn
1. Knappe – Julia Borchert
2. Knappe – Atala Schöck
3. Knappe – Norbert Ernst
4. Knappe – Miljenko Turk
Klingsors Zaubermädchen – Julia Borchert, Martina Rüping, Carola Guber, Anna Korondi, Jutta Maria Böhnert, Atala Schöck
Altsolo – Simone Schröder

  • phoenix

    -- I got this wonderful birthday present this morning from Marianne! I have been looking for this 2005 Parsifal since I first heard it but couldn’t locate it at all -- and here it shows up as the best present I could have imagined! DeYoung’s Kundry -- she had sung the 2004 performances the year before, however Boulez’ erratic conducting got the best of her, caught her offguard in the broadcast. But in 2005 she was primed up & wise to his game -- she sang a wonderful Kundry, not as dramatic as some would prefer, but with beautiful tone and style, which is what I prefer. I never forgot it.
    -- Know that you are appreciated Marianne, and very much so.
    -- If you will permit me, the best thanks I can give to you in appreciation for your efforts is to put up something that I dearly love (maybe you won’t like it -- maybe no one else will, since I am trapped by my own obsessions, but at least it has a certain amount of provincial camp about it that you may get a smile out of) there is probably much more valuable material I could come up -- but with my tastes, how would I know the difference? I have enclosed the original youtube links in case it gets censored. At any rate, here we go:
    There were 2 fairly recent Prince Igor broadcasts on channel Russia-24 from Novosibirsk, one in 2013 and another 6 weeks ago (May 2014). The youtube subscriber who uploaded the following 2014 performance mistakenly listed the cast and date (in Russian) from the 2013 broadcast. Use the following cast and date for this performance:
    Novosibirsk State Opera and Ballet
    Siberian Federal District
    18 May 2014
    Conductor: Aynars Rubikis
    Igor: Pavel Yankovskiy
    Vladimir: Ivan Gyngazov
    Galitskiy: Aleksey Laushkin
    Jaroslavna: Veronika Dzhioyeva
    Khan Konchak: Nicholas Losutkin
    Konchakovna: Svetlana Tokareva
    Ovlur: Karen Movsesyan
    Skula: Andrey Triller
    Yeroshka: Yevgeniy Kozyrev
    Polovtsy Maiden: Dar’ya Shuvalova
    PROLOGUE & ACT 1 (

    ACT 2 (

    NOTE: Glazunov’s ACT 3 cut in this performance
    ACT 4 (

    • Jungfer Marianne Leitmetzerin

      Happy Birthday, Phoenix! I, too, prefer this “Parsifal” broadcast to the 2004 performance. I was at the second night of the Schlingensief production in 2004 where they turned up the house lights and dispersed the audience for fear of fistfights. That was the year when people seemed more concerned with Schlingensief and Endrik Wotrich hurling “Nazi” and “Racist” at each other in the press, and Wottrich did us all a favor by swearing he’d never sing in that production again (he actually seemed surprised by the wall of boos which greeted his solo curtain call). Schlingensief made substantial changes to the Regie in 2005 and everyone seemed far more comfortable. It also marked what is likely Boulez’s farewell to Bayreuth and to “Parsifal” (Peter Schneider conduced it in 2006 & 2007; the Herheim production opened in 2008).

      • phoenix

        Thanks Marianne!

    • Camille

      Hola, phoenix! Muy felices cumpleaños!!!!

      • phoenix

        Camille, muchas, muchas gracias!

      • marshiemarkII

        Happy belated Cumpleaños from this Q here also caro fenice!!!!! Que tengas muchos mas!

        • Lohenfal

          Liebster MMII,

          Der Uns’re bist du neu geworden.

          I saw how affected you were by Rory’s passing in your previous posts. He was on the site as recently as early June. I wish we knew more about what happened to him; I enjoyed his posts also.

          I still haven’t been able to listen to that Strauss concert from Dresden. I spent the weekend watching Guillaume Tell from Munich and then slamming it on this site. The time would have been more profitably spent on Strauss--had I only known that on Saturday before turning on the webcast. But I will atone by listening to as much Strauss as I can in July.

        • marshiemarkII

          Der Uns’re bist du neu geworden
          Yes carisssimo Lohenfal, Elisabeth Claudine is hopefully back for a while, as things have slowed down a bit with those two events mercifully behind.

          Yes indeed I was/am very affected by Rory’s passing and knowing now that indeed he was very young makes it incomprehensible, what was it, some terrible accident? I do remember him in early June…..

          I hope you do get to hear that Strauss concert for the God himself of course, Herr Thielemann!
          I’d love to hear your impressions!
          I did see your comments on William Tell and can only wholeheartedly agree, you may remember my opinion of the composer :lol: frequently get an allergic reaction, urticaria horribilis :lol:

        • phoenix

          MMII -- thanks very, very much.

        • Milady DeWinter

          Happy Birthday Phoenix, and many more, in good health! I enjoy your postings and links, like the Prince Igor you placed yesterday. I missed the HD of the Met production, DVR’d it the other night, and well, was just totally bored by the production, although I enjoyed hearing it multiple times over Sirius. The Bolshoi may be the “corrupt” score, but it’s more fascinating. Bring on the bejeweled sarafans and Polvistian maidens!

          • phoenix

            Thanks very much! Glad you liked it Milady. I still miss Glazunov’s Act 3 but it appears that in Russia it has also become unfashionable to perform it (I am not going to argue the pros & cons of that issue). This Novosibirsk Igor performance interested me very much because of the idiomatic authenticity of singers.
            -- You might want to try the excellent 2005 Parsifal Marianne posted at the head of this thead. Both operas took the composers a long time to write -- and both were premiered only 8 years apart (Parsifal Bayreuth 1882 & Prince Igor Mariinsky St. Petersburg 1890).

            • Belated Happy Birthday, Phoenix.

              The new Bolshoi Lyubimov/Karmanov production of Igor has an abbreviated version of Act Three -- the whole opera us abbreviated though, so Glazunov isn’t being singled out.

            • phoenix

              Thanks very much croche for posting this.
              -- I liked the Met’s version better than this new Bolshoi one, but because of the high quality of the Met performance.

          • oedipe

            SDnem Rozhdeniya, Phoenix!

            • phoenix

              Œdipe -- Tak bol’shoye spasibo Vam !

  • Flora del Rio Grande

    Excuse-please a change of subject, but I thought it might be of interest that opening week-end of the Santa Fe Opera was greeting with considerable Ho-Hum by the local critic and by word-of-mouth. Carmen was “good entertainment, but…” and the ‘buts’ were very negative indeed. Then second night Pasquale inspired one of the most negative reviews I have read in recent years. A real bomb — yet, and this is a puzzle, the audience loved it — roared with laughter all evening, but the New Mexican critic was having none of it and his review had it sounding terrible. Pelley strikes out again.
    See this morning’s SantaFeNewMexican.Com for the Donizetti.

  • manou

    Per molti anni phoenix!

    • phoenix

      Molte, molte, grazia Camille ! Listen to the 2nd act of this 2005 Parsifal if you have the time.

      • Camille

        I shall definitely give the secknd act a listen, when I have time—which is not now.

        If only the mythical Arturo Toscanini Parsifal from early 1930’s would show up somehow, we would have both the short and the long of it all regarding this opera, so open to so many interpretations. Does it exist anywhere? In a vault? In a Schloß? In a mildewed basement in Dresden?

    • phoenix

      manou! Merci beaucoup pour toutes ces années!

  • Milady DeWinter

    Yes, I miss the Glazounov frills too -- love his ballets-well, The Seasons, that’s the only one I know.
    I will definitely give that Parsifal a listen -- I like Eberz. He’s one of the new heldens who eschew the baritone to tenor route with a lighter but penetrating voice, like Vogt etc. And Michelle DeYoung is excellent -heard her years ago as a debut artist at Glimmerglass, singing the Female Chorus in Rape of Lucretia. She may be one of the few authentic Zwischenfachs around currently?

    • phoenix

      Don’t go by my IMO opinions, because God knows they are usually incorrect -- but to me she sound like a lyric spinto with a homogenous middle & bottom -- with the brightness of her high notes, the warm but yielding quality in the rest of her voice.
      -- My favorite opera blog critic, in reviewing her 2011 Janowski-Berlin Philharmonie live performance as Kundry (which is available on CD), was able to put it in much better words than I can:
      ‘this evening she really wowed me. Other than bringing sexy back to Kundry with her fruity, rich voice that takes very easily to mezza voce, she masters as very few mezzos either live or in recordings the ability of producing big dramatic high notes. The closing of second act found her entirely in control – and that was something new for me in the theater. Moreover, she is an intelligent, charismatic performer who knows how to produce the thrill of the stage in a concert performance.

      • Milady DeWinter

        I see from her site that she’s doing a lot of concert work this year, plus Herodias, Santuzza, Bluebeard’s Castle, the Berg Early Songs and in 2015, Eboli -- it will be a pleasure to hear someone capable of delivering the vocally disparate goods of the Veil Song and “O don fatale”-

    • grimoaldo

      Glazunov ballet Raymonda (lovely, this is the only kind of ballet or dance show I like) in a meticulous reconstruction of an 1898 production, sets, costumes, movement all as “authentic” as possible (they love doing this sort of thing in the ballet world, it seems):

      • Milady DeWinter

        Thanks Grim -- it is really luscious eye(and ear) candy. I had forgotten about this Glazunov gem. I had to fast forward to the famous variations hongrois in the last act. Gorgeous.
        On another note balletique, last night I watched a documentary on Tanaquil LeClerq (highly recommended) -- what a wrenching life story.

  • Camille

    Ahem, phoenix—a word to the wise—that was manou who wished you molti anni, and not I. She may not appreciate being mistaken for such as I.

    As far as M DeYoung is concerned, I share uour love of the texture and timbre, plus the homogenized registers and lack of flutter, vibrato, wobble and tremolo. A beautiful voice but in the two occasions I have heard her, as Didon in the Met Troyens, and a beautiful accounting of the Sieben Frühe Lieder with MTT and the SF Symphony, her readings had all the expressiin of a recitation of Las Paginas Amarillas! I am sorry to say so, but that’s how I heard her.

    Maybe she lets her freak flag fly on this one. I dunno but I only hope it so, as her voice is beautiful and would really appreciate hearing her more at the Met, whether or not she flies that flag.

    So happy you had such a nice present drop into your lap on your!

    • phoenix

      Camille, yes I discovered the error of my ways too late. Poor manou has had enough grief already this week and I should have been more alert but I wasn’t.
      -- The source of my confusion can be blamed on the painting at the head of last week’s open topic thread, entitled ‘a loge of their own’:
      -- I have been trying to figure out who these people are in that painting. They are obviously MUCH higher class than I, so I settled on the two ladies being manou and Camille and the two gentleman being m.croche & kennedet. I was going to share this valuable discovery in a comment on that same thread but I couldn’t decide whether it was manou or Camille as A) the dressed up lady bidding a regretful farewell; or B) the babooshka in black trying to hustle her out the door. Since I couldn’t figure out which was which, who was exactly who, I never was able to put up the comment, but it has played on my mind ever since -- an unfulfilled communication. And so when I was writing the comment thanking manou above I was actually thinking of that painting & I accidentally substituted Camille for manou. My apologies to both of you.
      -- Well, to take up with you yet again Camille, I heard all kinds of expressiveness in DeYoung’s Dido, a veritable kaleidoscope of feelings, but not with the traditional (justifiably celebrated) technique of interpretively ‘putting the emotion directly into the words’. What I heard from DeYoung was something quite different, a collage of feelings emanating directly from the texture & color of her tone, not a deliberate expression uploaded directly from the text, but the interpretive essence of her reaction to the situation at hand -- as communicated through the actual physical audial sound she produced. It’s hard to put it into words, but there were others too I remember that had the same quality. Oftentimes it was very subtle. It is a charismatic thing -- the first time I heard DeYoung sing I recognized her voice as that of an old friend so I knew what she really meant from the expression in her tone, not from the actual words she sang.

      • Camille

        Hahahaha! You are very funny!
        I’ll take the role of the scheming duenna, or black babushka as you put it.

        I am very interested in how you describe what you heard from DeYoung as it is usually what I seek in a singer and am sorry if I did not note that, at the time. And, at that time I was suffering from a great deal of emotional duress and my own state of being may have factored in. That is why, even if I make instinctual snap judgments about artists, I tend to persevere and listen many times over before making a decision.

        Thanks for the laugh du jour!