{"product_id":"knappertsbuch-wagner-parsifal-bayreuth-1951-paco190","title":"KNAPPERTSBUCH Wagner - Parsifal (Bayreuth, 1951) - PACO190","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eParsifal\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recording, 1951\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e4hr 29:23 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eAmfortas \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- George London\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eTiturel \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Arnold van Mill\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eGurnemanz \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Ludwig Weber\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eParsifal \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Wolfgang Windgassen\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eKlingsor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Hermann Uhde\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eKundry \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Martha Mödl\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eAltsolo \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Ruth Siewert\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBayreuth Festival Orchestra \u0026amp; Chorus\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Knappertsbusch\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO190.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cb\u003eFIRST REVIEW\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\nAn indifferent performance of \u003cem\u003eParsifal\u003c\/em\u003e easily leads to dark\nsuspicions that most of what its many detractors have said of it may be\ntrue. Such a performance confirms that Gurnemanz is the prime bore of\nopera, that Parsifal is the prototype of Canon Farrar’s Eric, that the\nGrail scenes are a parody, in the worst possible taste, of the most sacred\nrite of the Catholic Church, and that the episode of Kundry's attempted\nseduction of Parsifal, in which she plays on his feelings for his mother,\nis disgusting. These criticisms can be found, expressed in very outspoken\nterms, in Runciman's book on the Wagner operas—though the author was a\ntrue-blood Wagnerian—and, more temperately, in Hanslick’s review of the\nfirst performance of the opera, printed in the recently published English\nedition of a selection of his criticisms, edited by Harry Pleasants. The\nperformance Hanslick attended must have been, from all accounts, a fine\none: but no doubt he would have remained unconvinced even if the cast had\nbeen composed of angels, not so much because of his innate dislike (by no\nmeans unfairly expressed) for all Wagner's operas after \u003cem\u003eTannhäuser\u003c\/em\u003e\n, but because of the false notion, as he saw it, that “beneath it all lies\nan unfathomably profound, holy meaning, a philosophic and religious\nrevelation.” He would, as others may, have regarded the “psychological\ndiagram” by Wieland Wagner, printed on the envelope containing the fifth\ndisc of the Decca recording, as typical of the Wagnerites of his time,\nwhose detailed analyses explaining every action and every bar with deadly\nindustry, consumed reams of paper and bemused the reader.\n\u003c\/p\u003e\n\u003cp\u003e\nAll this is past history: but the Bayreuth Festival performance of last\nyear, when this recording was taken, made a profound impression even on\nthose whose antipathy to the opera was strongest, and though it is a\nweakness, pointing to real defects, that an indifferent performance of this\nstrange work may rank one with the unbelievers, I do not think one can\nattribute the compelling power of the work merely to a performance so fine,\nreverent, and dignified as that which it received at Bayreuth, and which\nhas now been so faithfully and splendidly recorded.\n\u003c\/p\u003e\n\u003cp\u003e\nThe fact is that the opera deals, however tortuously, with faith and the\nabsence of faith, goodness and evil, in more direct terms than Wagner had\never used before, and that if he could not rise to the height of the great\nargument, not having the religious nature of Bach, the attempt he made in \u003cem\u003eParsifal\u003c\/em\u003e is certainly not to be regarded as theatrical and\ninsincere but, coming from so richly sensuous a nature, as a noble effort\nto clothe the great theme, as he so often does, with music worthy of it.\n\u003c\/p\u003e\n\u003cp\u003e\nHanslick speaks of “the solemn dullness” of the Prelude to the First Act\nand finds in its themes “neither charm nor any particular faculty of\ncharacterisation,” whereas it has always seemed to me that the opening\ntheme and the way it is orchestrated is one of the finest things in music,\nexpressing both the mystery of God’s love for man and man's anguished sense\nof remorse at his unworthiness. A universal theme. The purpose of these\nintroductory remarks is to ask the reader to give some serious and\nunprejudiced thought to \u003cem\u003eParsifal\u003c\/em\u003e and not to credit Wagner with\nintentions he did not have. It will hardly be necessary to say that the\nmost revealing writing on the subject can be found in Ernest Newman's\nWagner Nights. He takes pains, in the chapter on \u003cem\u003eParsifal\u003c\/em\u003e, to warn\nthe spectator against the too common error of identifying Parsifal vaguely\nwith Christ, a suggestion which angered Wagner. “The idea of making Christ\na tenor!—Phew!” he said.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Decca \u003cem\u003eParsifal\u003c\/em\u003e, like the Columbia \u003cem\u003eMeistersinger\u003c\/em\u003e, is\nan amalgam of various performances with the best preserved from each. In\ncomparison with the Columbia recording one notices the relative absence of\nstage noise, although it is only fair to say that there is far less audible\naction in \u003cem\u003eParsifal\u003c\/em\u003e. In some wonderful way, perhaps by tape\ncutting, we are also spared, except on one or two occasions, the coughing\nthat disturbed some of the quiet moments in \u003cem\u003eMeistersinger\u003c\/em\u003e, though\nwe are conscious throughout that we are hearing a performance in the\ntheatre.\n\u003c\/p\u003e\n\u003cp\u003e\nIn the Prelude to Act 1 the five (and four) silent beats before the brass\ncome in with the successive entries of the Faith theme are danger-points\nfor “chatter,” but none can be heard in this recording, and the high wind\nchords preceding the Dresden Amen are perfectly steady. The previous Decca\nrecording of the Prelude (LX3036) did not wholly avoid these faults, and\nthough beautifully played as a whole, Knappertsbusch surpasses that\nrendering in the one under review.\n\u003c\/p\u003e\n\u003cp\u003e\nThe string arpeggios, through which the theme of the Love Feast shines, are\nfinely articulated and lovely in tone, the brass are both massive and\nmagnificent, and the tempo both here, and almost all through the long\ncourse of the opera, seems to me absolutely right.\n\u003c\/p\u003e\n\u003cp\u003e\nThe first scene of Act I, the domain of the Grail, takes up four sides of\nthe discs, and I do not think I could pay a higher tribute to this inspired\nperformance, and above all to the Gurnemanz of Ludwig Weber, than to say\nthat I was continually surprised to find that each of these sides had come\nto an end. The scene of the morning prayer silently offered by Gurnemanz\nand the squires is accompanied by brass on the stage, and by strings, with\nextraordinary beauty of tone, in the orchestra: and it is here, more than\nanywhere, that Wagner approaches the serene ideal of Palestrina’s writing,\nwhich he so much admired.\n\u003c\/p\u003e\n\u003cp\u003e\nWeber’s power both to interest and move us shows in the feeling and colour\nhe gives to his words, an excellent example of which comes early in this\nAct just before the entrance of Kundry. He sings about the healing of\nAmfortas: “\u003cem\u003eihm hilft nur eines, nur der Eine!\u003c\/em\u003e” (“but one thing\navails him, but the one man”) and the way he differentiates between \u003cem\u003eeines\u003c\/em\u003e and \u003cem\u003eEine\u003c\/em\u003e is a measure of his artistry.\n\u003c\/p\u003e\n\u003cp\u003e\nMartha Mödl gives a remarkably effective performance of the one character\nin the opera that can so easily seem theatrical and contrived. A suggestion\nwas made that at Bayreuth last year the part should be sung by two\ndifferent artists in the first two Acts and by a third—an actress, not a\nsinger— in the last Act, so as to bring out more fully the contrasting\nfacets of Kundry’s complex nature. Martha Mödl, however, makes any such\nprocedure unnecessary. In the first Act her speech is constrained and\ndevoid of beauty of tone, in the second Act she is at first a creature in\nunwilling thrall to Klingsor, wishing only the oblivion of sleep, and then,\nwhen she enters the magic garden with the thrilling cry, “Parsifal!” the\nsinger puts, as into the \u003cem\u003eHerzeleide\u003c\/em\u003e following, all the beauty of\ntone she can command. In the last Act she has only two words to sing, and\nit is left to the music, on these discs, to describe, as it most movingly\ndoes, her repentance.\n\u003c\/p\u003e\n\u003cp\u003e\nThe theme expressing the sickness and weariness of Amfortas, one of the\nmost poignant in the opera, comes to us with great beauty of tone ('cellos\nand bass clarinet) as he is borne in on his litter; and the oboe solo,\npainting the peace of the forest—a lovely page I had forgotten—is also\nrecorded most faithfully.\n\u003c\/p\u003e\n\u003cp\u003e\nGeorge London has the full range, with ample power on the upper notes, for\nthe part of Amfortas, and the slight roughness in his singing makes more\npoignant the moving accounts, in the two Grail scenes, of his suffering. I\nhave written before of Weber's long narration in Act I and of his singing\nin the Good Friday music. Here we have this noble singing enhanced in its\nappeal by the actuality of stage performance, and it is, together with the\norchestral playing under Knappertsbusch, certainly the most outstanding\nglory of the performance. Wolfgang Windgassen is a youthful and appealing\nParsifal in the first Act and in the following Acts he manages to convey in\nhis voice some of the change of character made by the attainment of wisdom.\nThe Transformation music between the two Scenes of this Act, which reaches\na much more resonant climax than in the earlier studio recording, leads us\nto the scene in the Hall of the Grail Castle which is the supreme test of\nany recording of the opera. It is, let me say at once, a complete success,\nand I found it almost unbearably moving. The chorus of knights is most\nvirile and contrasts with the unearthly beauty of the boys' voices coming\nfrom the extreme height of the dome. Here, as in the voice of Titurel\ncoming from the tomb, the perspective is excellent. After Amfortas’s great\ncry, “\u003cem\u003eEbarme dich . . .\u003c\/em\u003e” and the boys' singing of the theme\n(another great inspiration): “\u003cem\u003eDutch Mitleid Wissend, der nine Tor\u003c\/em\u003e”\n(“Through pity quickened, the guileless Fool”) the Grail is uncovered and\nthe great hall darkens. Anyone who regards this scene as merely\ntheatrically effective must be extraordinarily insensitive and incapable of\nseeing below the surface of things: and I hope I shall not be misunderstood\nif I say that more of the deep penance of Amfortas and of the great\nreverence with which the scene is treated would not be unwelcome in the\nChristian Church. The little scene between Parsifal and Gurnemanz at the\nclose of the Act is most eloquently done, the voices in the dome\nexquisitely echoing the Dresden Amen.\n\u003c\/p\u003e\n\u003cp\u003e\nThe tempestuous Introduction to Act 2 comes out well (though, as elsewhere,\nsoft drum-rolls are lost), and Herman Udhe is convincingly evil as\nKlingsor. (I hope, for the sake of her voice, a stand-in performed the\nblood-curdling shrieks uttered by Kundry!) The horns announcing the arrival\nof Parsifal are a bit muzzy in sound and there was, on my reproducer, a\nslight lack of brilliance in the orchestral part describing the battle\nbetween him and the knights. The Flower Garden scene, on the other hand, is\nvery well recorded. The intonation of the singers is adequate, the\nantiphonal effects came off well, and the florid orchestral part can at\nleast be heard. After Kundry’s entrance, a wonderful moment, it has always\nseemed to me that Wagner’s invention faltered, in spite of some beautiful\npassages, and there is no doubt that the scene is overlong. We get here\n(and again in the Good Friday scene) two abrupt tape cuts, and I could have\nwished for a more resounding orchestral climax as the castle sinks and the\ngarden becomes a desert. Apart from a rather noisy surface on the first\ndisc in the Third Act and a moment or two of coarse recording of Parsifal\nin the first scene and the Knights' Chorus in the second scene, this last\nAct is very good indeed. The highlight, for me, was the orchestral playing\nof the music accompanying the bathing of Parsifal’s feet by Kundry up to\nthe point where she is baptised by Parsifal. The radiant music is even\nlovelier than that especially associated with Good Friday, and it has been\nrecorded with amazing fidelity.\n\u003c\/p\u003e\n\u003cp\u003e\nAll concerned with this issue have done a magnificent piece of work, but my\nlast word of praise must be for Hans Knappertsbusch whose superb\nmusicianship and deep insight into the opera must have inspired the whole\nof the cast—in which there is not a weak member—and the orchestra to give\nof their best.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eAlec Robertson\u003c\/b\u003e, \u003ci\u003e\u003cem\u003eThe Gramophone\u003c\/em\u003e\u003c\/i\u003e, March 1952\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eWAGNER Parsifal\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003edisc one (54:49)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003cbr\u003e1. Vorspiel  (14:21)\u003cbr\u003e2. He! Ho! Waldhüter ihr  (5:51)\u003cbr\u003e3. Seht dort, die wilde Reiterin!  (3:06)\u003cbr\u003e4. Recht so! - Habt Dank! - Ein wenig Rast  (8:21)\u003cbr\u003e5. He, du da!  (6:27)\u003cbr\u003e6. Das ist ein andres  (5:04)\u003cbr\u003e7. Titurel, der fromme Held  (8:39)\u003cbr\u003e8. Vor allem nun: der Speer kehr' uns zurück!  (3:00)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc two (61:32)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. Weh! Weh!  (1:39)\u003cbr\u003e2. Du konntest morden, hier, im heil'gen Walde  (4:04)\u003cbr\u003e3. Wo bist du her?  (3:20)\u003cbr\u003e4. Den Vaterlosen gebar dir Mutter  (3:11)\u003cbr\u003e5. So recht! So nach des Grales Gnade  (2:38)\u003cbr\u003e6. Vom Bade kehrt der König heim  (2:08)\u003cbr\u003e7. Nun achte wohl, und lass mich seh'n  (11:57)\u003cbr\u003e8. Mein Sohn Amfortas, bist du am Amt?  (2:41)\u003cbr\u003e9. Nein! Lasst ihn unenthüllt  (10:09)\u003cbr\u003e10. Nehmet hin meinem Leib  (17:09)\u003cbr\u003e11. Was stehst du noch da?  (2:35)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc three (77:25)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003cbr\u003e1. Vorspiel  (2:17)\u003cbr\u003e2. Die Zeit ist da  (2:25)\u003cbr\u003e3. Ehrwachst du? Ha!.  (9:12)\u003cbr\u003e4. Jetzt schon erklimmt er die Burg  (4:16)\u003cbr\u003e5. Hier war das Tosen  (2:21)\u003cbr\u003e6. Ihr schönen Kinder  (2:15)\u003cbr\u003e7. Komm, Komm! Holder Knabe!  (5:32)\u003cbr\u003e8. Parsifal! -- Weile  (6:40)\u003cbr\u003e9. Ich sah das Kind an seiner Mutter Brust  (5:43)\u003cbr\u003e10. Wehe! Wehe! Was tat ich?  (5:14)\u003cbr\u003e11. Amfortas! -- Die Wunde!  (9:12)\u003cbr\u003e12. Grausamer! Fühlst du im Herzen  (6:45)\u003cbr\u003e13. Auf Ewigkeit warst du verdammt  (5:47)\u003cbr\u003e14. Vergeh, unseliges Weib!  (1:36)\u003cbr\u003e15. Halt da! Dich bann' ich mit der rechten Wehr!  (2:37)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003cbr\u003e16. Vorspiel  (5:33)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc four (75:40)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eACT THREE continued\u003cbr\u003e1. Von dorther kam das Stöhnen  (4:28)\u003cbr\u003e2. Du tolles Weib! Hast du kein Wort für mich?  (3:15)\u003cbr\u003e3. In düstern Waffenschmucke?  (8:02)\u003cbr\u003e4. Heil mir, dass ich dich wiederfinde!  (4:12)\u003cbr\u003e5. O Gnade! Höchstes Heil!  (7:31)\u003cbr\u003e6. Nicht so! -- Die heil'ge Quelle selbst  (3:53)\u003cbr\u003e7. Du wuschest mir die Füsse  (6:35)\u003cbr\u003e8. Wie dünkt mich doch die Aue heut zu schön  (10:04)\u003cbr\u003e9. Mittag. -- Die Stund' ist da  (5:43)\u003cbr\u003e10. Geleiten wir im bergenden Schrein  (4:33)\u003cbr\u003e11. Ja, Wehe! Wehe! Weh' über mich!  (8:11)\u003cbr\u003e12. Nur eine Waffe taugt  (9:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003eAmfortas \u003cb\u003e- George London\u003cbr\u003e\u003c\/b\u003eTiturel \u003cb\u003e- Arnold van Mill\u003cbr\u003e\u003c\/b\u003eGurnemanz \u003cb\u003e- Ludwig Weber\u003cbr\u003e\u003c\/b\u003eParsifal \u003cb\u003e- Wolfgang Windgassen\u003cbr\u003e\u003c\/b\u003eKlingsor \u003cb\u003e- Hermann Uhde\u003cbr\u003e\u003c\/b\u003eKundry \u003cb\u003e- Martha Mödl\u003cbr\u003e\u003c\/b\u003eAltsolo \u003cb\u003e- Ruth Siewert\u003cbr\u003e\u003c\/b\u003eGralsritter \u003cb\u003e- Walther Fritz \u003cbr\u003e\u003c\/b\u003eGralsritter \u003cb\u003e- Werner Faulhaber \u003cbr\u003e\u003c\/b\u003eKnappe \u003cb\u003e- Hanna Ludwig \u003cbr\u003e\u003c\/b\u003eKnappe \u003cb\u003e- Elfriede Wild \u003cbr\u003e\u003c\/b\u003eKnappe \u003cb\u003e- Günther Baldauf \u003cbr\u003e\u003c\/b\u003eKnappe \u003cb\u003e- Gerhard Stolze\u003cbr\u003e\u003c\/b\u003eBlume \u003cb\u003e- Erika Zimmermann \u003cbr\u003e\u003c\/b\u003eBlume \u003cb\u003e- Hanna Ludwig \u003cbr\u003e\u003c\/b\u003eBlume \u003cb\u003e- Paula Brivkalne \u003cbr\u003e\u003c\/b\u003eBlume \u003cb\u003e- Maria Lacorn \u003cbr\u003e\u003c\/b\u003eBlume \u003cb\u003e- Lore Wissmann\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBayreuth Festival Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eHans Knappertsbusch\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eRecorded live during performances at the Festspielhaus, Bayreuth, 30 July - 25 August 1951\u003cbr\u003eProducer for Decca: John Culshaw, Sound Engineer: Kenneth Wilkinson\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  4hr 29:23 \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO190.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO190.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064693289050,"sku":"udb1789303377349","price":50.5,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064693321818,"sku":"cna1789303377350","price":31.65,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064693354586,"sku":"gyi1789303377351","price":29.66,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/knappertsbuch-wagner---parsifal-bayreuth-1951---paco190_1.jpg?v=1789303385","url":"https:\/\/vestorawear.shop\/products\/knappertsbuch-wagner-parsifal-bayreuth-1951-paco190","provider":"My Store","version":"1.0","type":"link"}