Parsifal   (Leitner;  Windgassen, Neidlinger, von Rohr, Sentpaul, Cramer, Modl)     (4-Hanssler Profil PH09009)
Item# OP1919
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Product Description

Parsifal   (Leitner;  Windgassen, Neidlinger, von Rohr, Sentpaul, Cramer, Modl)     (4-Hanssler Profil PH09009)
OP1919. PARSIFAL, Live Performance, 26 March, 1954, l’Opéra Garnier, Paris, w.Leitner Cond. Württemberg Staatsoper Ensemble & l’Opéra Orch.; Wolfgang Windgassen, Gustav Neidlinger, Otto von Rohr, Frithjof Sentpaul, Heinz Cramer, Martha Mödl, etc. (Germany) 4–Hänssler Profil PH09009. - 881488900958


“Windgassen and Mödl are the ideal Parsifal and Kundry….The rest of the cast is quite as strong as many another Bayreuth cast. It is also the only known recording of Gustav Neidlinger’s Amfortas. He specialized in nasty, evil characters – his Alberich set the gold standard. Here he is hardly recognizable as the tragic, wounded Amfortas, singing with gentle beauty and drama.”

- Charles H. Parsons, AMERICAN RECORD GUIDE, Sept./Oct., 2009

“The most important singer of the German Heldentenor repertory in the 1950s and 1960s, Wolfgang Windgassen employed his not-quite-heroic instrument, believable physique, and considerable musical intelligence to forge memorable performances on-stage and in the recording studio. Although his voice lacked the sensuous appeal of Melchior's or Völker's, it was never unattractive and never employed to obvious effect. Indeed, it conveyed a youthfulness that suited the young Siegfried especially well."

- Erik Eriksson,

“This German bass was one of the superb, black-voiced basses of the 1950s and 60s….There is great joy in Neidlinger’s singing, and a great, huge, cavernous, black voice to back it up.”

- Charles H. Parsons, AMERICAN RECORD GUIDE, Sept./Oct., 2011

“With a powerful bass-baritone of granite-like density and sharply honed dramatic instincts, Gustav Neidlinger was the foremost Alberich of his time. His realization of Wagner's misshapen creature had both the fearsome strength for the curse in DAS RHEINGOLD and the pathos that glinted through the crusty exterior to make Alberich a tragic character in SIEGFRIED and DIE GÖTTERDÄMMERUNG. While Neidlinger capably essayed many other rôles during his long career, Alberich is the rôle that remains indelibly linked to his name.

After studies at the conservatory in Frankfurt am Mainz, Neidlinger made his début at Mainz in 1929. From 1931 to 1934, he was a member of the company in Mainz before transferring his activities to Plauen in 1934. In 1936, he began a long association with Hamburg, remaining with that company until 1950. During the 1950s, his career moved outward to include many of Europe's première venues. Two years after joining the Stuttgart Opera in 1950, he made his Bayreuth Festival début where his rôles embraced Alberich, Telramund, Kurwenal, Klingsor, and even Hans Sachs. He remained on the Bayreuth roster for 23 years. La Scala heard him for the first time in 1953, and beginning in 1956, he became a frequent visitor to the Wiener Staatsoper. In 1963, he appeared at Covent Garden as Telramund, winning further respect from an English public already familiar of his recorded Alberich (with Solti). Neidlinger appeared at the Metropolitan Opera for one season only, presenting his Alberich to New York audiences in 1972. The previous year, he had impressed the Chicago public with his RHEINGOLD Alberich, an interpretation histrionically frightening and vocally undiminished. During the final half-decade of his career, he appeared almost exclusively in Europe. In addition to his Alberich, recorded live at Bayreuth under both Clemens Krauss and Karl Böhm and in the studio under Solti, Neidlinger left a snarling Pizzaro on disc. His sturdy Kurwenal was captured live at Bayreuth. Neidlinger was made a German Kammersänger in 1952.”

- Erik Eriksson,