Cher Public

Broadcast: Parsifal

Tonight, cher public, time becomes space starting at 5:55 PM and 30 Lincoln Center Plaza.

The free streaming of Parsifal should time out something like this:

Act 1 begins at 6:00 PM.

Act 2 begins at 8:25 PM.

Act 3 begins at 10:20 PM.

The music drama ends at 11:40 PM.

Photo: Ken Howard / Metropolitan Opera

  • cielo e mar

    About 14 pages left in the vocal score.

  • grimoaldo2

    this bit is also really scary

  • grimoaldo2

    mattei was the best,could not be surpassed

    • Rowna Sutin

      A golden age Amfortas right here -- and I think Pape amazing as well even if tonight wasn’t his all time best. Was good enough to be great

    • Dan Patterson

      Just occasionally you hear a performance and think, I’m never gonna hear it sung any better than this.

  • Dan Patterson

    I remember going to Parsifal years ago (9 performances over the years, usually conducted by Levine). Driving back to Philly after the opera put me in bed by 3 or 4. Ah, to be young again!

  • Rowna Sutin

    Harps! Entering heaven . . .

  • cielo e mar

    And back come the sopranos and altos, to sing about 15 measures after all this time.

  • Dan Patterson

    I’m liking Vogt here.

    • Rowna Sutin

      Say it isn’t so, Dan! He sounds like a boy soprano

      • Dan Patterson

        I’ve heard a lot of Parsifals, and I like the almost crooning he does here.

  • Ivy Lin

    I’m still awake. Beautiful ending. Vogt’s voice really works well in this moment.

    • MissShelved

      Glad I’m not the only one who keeps trying to go to bed — and failing. Not too long now… and there it is.

      • Ivy Lin

        And it’s over. Wagnerian backloading working its magic again. The most magical music happens at the end of 6 hours.

  • grimoaldo2

    What a marathon! for the performers and us
    Enjoyed it, thanks to La C for letting us have the chat

  • Rowna Sutin

    I always stay for the bows

    • Dan Patterson

      I do too. Once I absolutely had to leave to catch a train (or wait three hours) and I felt like a traitor running out as soon as the last note played.

  • Juicy Bjoerling

    hmmmm. what other opera requires 7 harps?

    • Rowna Sutin

      Walkyrie has 4 i think

      • Juicy Bjoerling

        yes, i think GD as well.

  • Dan Patterson

    Gorgeous ending, always brings tears to my eyes. Thanks for the chat room, La Cieca! Helped to pass a long evening.

  • Juicy Bjoerling

    from the little i heard tonight, vogt sounds darker and less ethereal than as lohengrin around 2004?

  • Amika

    That was just lovely. What a treat for a Monday night!

  • Rowna Sutin

    Nice applause but not ecstatic -- except for orchestra!

    • Amika

      Interesting I thought as well but hey, maybe everyone’s tired

    • grimoaldo2

      Mattei and Y N-S got the biggest ovations, well deserved

      • Rowna Sutin

        Pape too

  • Rowna Sutin

    Good night all my opera pals!

  • grimoaldo2

    Night night all,see you later

  • suzyQ

    Can’t wait to see this again!

    • suzyQ

      Goodnight all!

  • Kenneth Conway

    Very moving in the house, I felt. Pape gorgeous and authoritative, as expected. I liked Vogt very much. Mattei almost ruined the evening for me as he sang so beautifully, with so much glamour that I almost couldn’t pay attention to anything else. The production is mesmerizing, genius, so beautiful. Conducting: must return. Not sure. Too soon to judge. Kundry has to be one of the greatest roles for the female voice. Not tonight. Troyanos, Norman, Jones, Rysanek, Dalayman … I know one can’t live in the past, but give me any of those, ladies, please, even as just a memory. Why couldn’t they have booked Gubanova? For me, Kundry must thrill, seduce with vocal splendor. Not tonight. Oh, Klingsor rocked.

    • Bill

      Kenneth -- from the house last night. The orchestra was often luminous sounding (as it should be in Parsifal).
      The house was not sold out but partially solidly full -- few in standing room (I stood the first act but thereafter a sympathetic lady usher unsolicited gave me and another guy two tickets parterre row O direct center. The augmented chorus (counted about 65 male choristers) sang extremely well. Yannick Nezet-Seguin garnered the heftiest applause and amazingly almost the entire audience stayed in place throughout the curtain calls.

      Perhaps most beautifully sung was Peter Mattei’s Amfortas
      particularly during his first appearance -- it elevated the
      entire evening (5 hours 50 minutes including intermisson
      When later and when he pushed his voice a pit it was just a shade less radiant.
      Vogt is a boyish Parsifal -- the first act (which lies a bit low)
      he did not overly impress. His precise diction is extraordinary -- in the last act his voice blossomed and he sang with great clarity and limpid tones.
      Pape’s voice, always solid, may have slightly lost a bit of freshness and sonority from a decade before -- but it remains a stately lovely performance.
      I never quite understood the Met’s constant use of Nikitin --
      he always sounds so ordinary vocally.
      As to Herlitzius, she is a very compelling actress and moves very well and is very attractive on the stage in the 2nd act.
      Then there is her voice -- it is very scratchy particularly in the middle (sort of like Voigt’s when she was at the end of her tether) -- there is little beauty in the basic voice. Her screams were effective and in performance she is a full blooded Kundry but I think perhaps the worst sung Kundry I have ever heard. It is not a problem of pitch but the timbre of the voice, the uneveness of her tone projection. One is not always sure what kind of sound she will emit -- (I had the same impression when I first heard her as Fidelio in Vienna some years ago -- she sang it wretchedly). Herlitzius seems committed to the role, she was a visual feast but unfortunately one had to listen to her as well -- nothing very disturbing in the first and last acts in which Kundry hasn’t
      much to sing. The production remains sure and sturdy ( I love the cloud projections in the third act). Despite Herlitzius’ vocal failings, one of the best offerings at the Met
      this season. Yanick Nezet-Seguin worked hard -- was animated in the pit. He had much warm welcome applause as he entered the pit. Most people (as per tradition) did not
      applaud after the first act curtain fell but some did, first just a small trickling of applause but then a bit of swelling -- but I was deeply impressed that the audience stayed put after the last strains of this glorious music faded away -- it was practically midnight (this performance started at 6 pm), the uptown subways were closed and there was not the usual rush to get the heck out of there -- just a leisurely departure of the crowd after the house lights were illuminated everyone mesmerized by the only Wagner they will have the opportunity to hear at the Met this season.

      • Camille

        Thanks for your thoughts and am glad and so relieved for you that you were able to sit through the last two acts. It makes it so much easier to concentrate on the big task at hand. That was very kind of the usher.

        Yes, the worst sung Kundry I’ve ever heard, as well, but then I’ve had some luck with those I’ve heard. The “total package” experience I’m not buying as the ‘bella scusa’ in this case — Karita Mattila, Gwyneth Jones, Waltraud Meier are package deals too, but even stretched at their limits they never emitted sounds like these. I’ll take my pfennigs elsewhere.

        Pape has sung this here since the spring of 2003(!), and was marvelous the first time around at making Gurnemanz of interest so if he is not quite what he once was it is perhaps understandable, but I’d still rather him than others! I also thought Mattei did slightly fall off the pristine level he had reached in his initial exposition, but THAT first part was worth the entire listen. Excepting the last act grasping he has improved on his entire run from 2013, which is quite impressive for what was already very good. YN-S rather surprised me as it was far better than I had feared and think he made a positive first step for which I’m glad. It seemed stronger in the first act and seemed to lack ‘something’ or momentum of some sort in the last act. That may just be my own physical tiredness at that point, don’t know. Considering this work is a lifetime study and which never can be finished, he can only continue to improve and refine things. The performance clocked in at 11:50, which was ten minutes later than guesstimated and just under the witching hour of midnight and overtime!

        For the rest, I’ll pass. Attached hereto is an interview with the director François Girard regarding his production:

        http://www.metopera.org/Discover/Articles/Interviews/Searching-for-Salvation/

        I’m glad you got to see it Bill, and that your delights in Vienna will be plentiful.

        • Bill

          Camille -- actually I seemed to be more alert
          standing than sitting in the comfy plush
          orchestra seats -- glad to see most of our
          impressions of the performance rather mesh.
          You really should try to endure the 6 hours in he house -- who knows when Parsifal at the Met will crop up again and this was the first night and subsequent performances in this
          short cycle of performances may gel even further. It seemed well rehearsed -- only a couple of bobbles in the horns, chorus and orchestra solidly together, and it is nice to be
          enjoying a performance with a rapt and very quiet audience as those for Parsifal tend to be. And though I do not appreciate Herlitzius’ voice very much -- I am sure her performance is enhanced to visually see what she is doing
          on stage rather than listening to all that
          squawking on the radio. She does have some good notes -- it is just that they are few and far between and her vocal production is so frustratingly uneven which is a detriment as Kundry in the second act.

          • Camille

            Thanks, and I shall listen to the Saturday broadcast and think it over but I am kind of tired of it after thirty years, and I am currently in the preparatory stage for Semiramide, a work I’ve never seen and heard live and want to experience as fully aware and knowledgeable as I possibly can. Parsifal is my dear old fascinating friend, to whom I always return. I need to see new friends, for new ideas while I still can. And further, I truly, really loved the combination of Vogt and Pankratova from the webcast of Bayreuth 2016, and which I somehow spyed(!), and after that, which I felt was the ne plus ultra, don’t care to backslide.

            We were going to go to The Medry Wives of Windsor (Nicolai) but unfortunately delayed to long in obtaining tickets and they are now sold out. Schade!

            • Nelly della Vittoria

              (Camille, reine de la nuit et de savonettes specialisées [A thousand thank-yous in regard to the Met’s novelty cosmetics/bath-ware, as All Great Neptune’s Ocean really wasn’t cutting it in regard to bloodied hands etc. etc.], are you really going to brave Mlle Meade and all the stun-gun vibrato and traffic-signal acting you deplore just pro certo labore et voluptate dubio Semiramidis?!)

            • Camille

              HAHAHaha!!!! You got the discreet word on les savonettes, then? I am so content!!!

              Oh but most certainly and without any equivocation — I wouldn’t miss those sets for the world, and Big Angie won’t stand in the way of my descent into Babylon for even she’s not that big to block it all from my view! Besides, it is a fabulous bit of rossiniana seria and since I missed Tancredi last year I am hellbent on Babilonia!

              Besides, I’m hoping to see Ildar nudo e crudo (OOPS!) and I love Mr Camarena, that mighty mite of Mexico and relish his beautiful singing — Therefore —I shouldn’t miss it for all the curry in Bombay!!!!

              Are you yet returned from the Mother Country and back in yankeeland? Hoping for the best outcome for who knows what Big Angie will do this time. Always like opening a chocolate bonbon surprise!--

              Tendres bisous de Ta sœur--
              Camille Moke de Pleyel
              née Beauchamps

            • Nelly della Vittoria

              Ah no, I’m not back till March, and will catch From the House of the Dead here on March 7 before I return! So no Parsifal for me (assuming I’d’ve had the strength of will to see it again) but am thrilled at the prospect of Christine Goerke’s Elektra.

            • Luvtennis

              Camille

              Try the Naxos with la Pendatchanska and the wonderful Pizzolato. Osborn is Idreno. I have my issues with Alex but I enjoyed the performance. It’s much better prep than Sutherland. Vibrato, yuh know!

            • Camille

              I’d sooner turn on a vibrator and watch it for two and a half
              hours for all the enjoyment it would give me.

              Penda(chatska) has sterling qualities and I have a great admiration for many of those but that vibrato/wobble/thingamajig of hers is intolerable. I heard Pizzolato’s dowdy Italiana and she reminds me of one of my mother-in-laws. No, thank you. I’ll go look around for La Junie or her double/cover La Lella, whom I feel quite stylish and lovely. Thanks, I know you meant well but I have limited patience for vibrational inconsistencies and it is getting even more limited as time flies by.