Parsifal, Covent Garden

[Michel]

I am going to keep this review short and sweet.

The seven reviews I read, ranging from online enthusiasts to newspapers, showed  consensus:

They were disappointed, greatly, that the production was chosen to welcome Haitink back to Coven Garden because it was atrocious, but were impressed by the standard of music and of the singers. This consensus is surprising, because I think it  draws attention to the wrongs things.

Firstly, the production was not that bad! I was shocked how harsh the criticism was, when you consider that some of the moments in the strongly supported Ring recently were far more crass. Certainly, Parsifal is complex and subtle; but a white, roughly animal shaped sheet swinging onto stage, dying from the wound from Parsifal, is not as vulgar as asking someone to look after a horse and just giving them a skull, is it!? There were some slightly more suspect moments (Parsifals interaction with Kundry and consequent rejection and denoucement) but we shall not focus on them. In personally believe that in this opera, the themes speak for themselves.

Secondly, the critics probably did not emphasize just how good the singing was; for, while the whole cast was quite excellent - it was by far the strongest set of singing performances I have ever seen - both Mike and I felt that Christopher Ventris was not praised enough; he had a wonderful voice, though at times it lacked expressiveness and I think he needs to substantially improve his stage presence and acting (it was frankly a disappointment when he, in the last scene, interupted Amfortas),

Finally, a point about the music; Haitink no doubt made the orchestra play far louder and more dramatically than Pappano could muster, but it was at times reckless and, literally, out of time. It was generally good, and Haitink brought his typical warmth, but there were definite flaws that no other reviewer seemed to pick up on; they only emphasized how good it was.

Where the critics got it right was with Falk Struckmann; what a massively powerful voice! For the first time in a live opera I felt as though I was witnessing a special voice; and what a part to do it for! Amfortas doesn't sing that much, but what he does is very powerful, and his final lament in the closing scene I've not heard sung better elsewhere.

John Tomlinson, as always, was very good, less challenged here than in Wotan as the strains of his age showed less. But great acting, as usual.

Petra Lang was superb, too.

Mikes more erudite review may follow.

[uffeviking]

That's a good one! Talking about your review, Paul, your very own opinion of this Parsifal. I do read reviews by professional writers, but always prefer the reports written by friends or acquaintances; it's more personal.

Thank you, Friend! 

[knight66]

Oh, I don't think more erudite, but I will add a bit. The scenery, apart from the outsize hanging shark in act two, was mainly sympathetic and did evoke poetic images reflected in the text. I thought the highlight was the first scene of the final act, it echos the final scene in Walkure in its grief and tenderness, the performance could not have been bettered here.

It is quite a strangely structured opera. The hero barely opens his mouth for the first two hours. The temptress is silent throughout the final act apart from two moans. Earlier she is supposed to try to seduce Parsifal and her technique is an interesting one. Within moments of completing a long and harrowing explanation of how Parsifal's foolishness killed his mother through extended grief and utter despair, she is asking the now devastated Hero for an hour of his time in passionate embraces. When this does not work, she then spends considerable minutes explaining she is a completely unhinged madwoman....and could he spare an hour or so to lover-her-up.

Anyway, joking aside, the treatment was not remotely disrespectful of the themes. The Grail seemed to be a bit of rock, but so what, it was the power and what it symbolised that was important and this was conveyed. The singing was exceptional all round. Petra Lang did not push her voice and contrary to a couple of crits, there was NO wildness in the pitch or the singing.

As to the orchestra, they sounded sumptuous. As the overture began it was like being submerged in a warm bath. Haitink conveyed all the emotions across the vast arcs of the acts, but there were strangely ragged entries and the ending of phrasing was likewise un-uniform in release. The strings often were marginally behind the brass, sometimes the woodwind entered late. I could not see the conductor, but when I have seen him his beat was clear, so it seemed a mystery.

The men's chorus was also exceptional, no blasting, beautiful, graded and projected singing, well blended. So much was right, such a lot of artistry from so many, given unstintingly.

Mike

[bhodges]

Enjoyed reading these, gents, and wish I could have joined you.  I think these days there is no time like the present to soak up Haitink, since who knows how long he'll be around.  I also love Petra Lang (based on just a couple of hearings) and John Tomlinson is a longtime favorite. 

And sorry to miss the outsize hanging shark.

--Bruce

[knight66]

Every opera needs the outsize hanging shark; they ought at least to borrow it for Traviata and Norma.

Mike

[BachQ]

Every opera needs the outsize hanging shark

How about The Rape of Lucretia ....... ? .......

[knight66]

Perhaps in despair Lucretia could stick her head into it.

Mike

[matti]

An outside hanging swordfish would suit even more effectively for Lucretia.

[karlhenning]

Every opera needs the outsize hanging shark

"I knew you'd be surprised, Pelleas, at what you find when you try to recover my wedding-ring from the well . . . ."

[knight66]

That would be the BIG well.

Mike

[karlhenning]

Well, in Act I Golaud sings the line, "Yer gonna need a bigger well" . . . .

[knight66]

Odd how it sounds better in French; though so much does.

Mike

[karlhenning]

The French don't care what they do actually, as long as they pronounce it properly.

[knight66]

That certainly seems to apply to the private lives of their politicians.

Mike

[karlhenning]

In all lands, an occasion for the Curtain of Charity, I trow.

[BachQ]

Where the critics got it right was with Falk Struckmann;

Try saying that name quickly five times ........

[Michel]

I am listening to my faithful Karajan recording from 1961, with the VLO today.

Bloody hell Hans Hotter is good.

[knight66]

I have summat less stellar in the background. A TV programme about; changing properties to live like a happy native in a country you know nothing about, unable to speak the language, with insufficient funds and without the ability to obtain work to support yourself. It seems to be a new UK national sport, always played as an away game though.

Mike

[Michel]

Here is a review by my friend; he loved it!

http://www.musicweb.uk.net/SandH/2007/Jul-Dec07/parsifal2112.htm