OP2653. PARSIFAL, Live Performance, 1962, w.Knappertsbusch Cond. Bayreuth Festival Ensemble; Jess Thomas, George London, Hans Hotter, Martti Talvela, Gustav Neidlinger, Irene Dalis, Gundula Janowitz, Anja Silja, etc. (Germany) 4-Philips 289 464 756, Boxed Set Edition w.libretto-brochure. Final Sealed Copy! - 028946475621
"This isn't merely one of Philips' great recordings but also one of the greatest sets of all time. Every time one returns to it, its inspiration and distinction seem to have been enhanced. There have been many fine recordings of this great Eastertide opera, but none has so magnificently managed to capture the power, the spiritual grandeur, the human frailty and the almost unbearable beauty of the work as Hans Knappertsbusch. This live recording has a cast that has few equals. Hotter is superb, fleshing out Gurnemanz with a depth of insight that has never been surpassed. London's Amfortas captures the frightening sense of impotence and anguish with painful directness, while Thomas' Parsifal grows as the performance progresses and is no mean achievement. Dalis may lack that final degree of sensuousness, but she provides a fine interpretation nevertheless. Throughout the work, Knappertsbusch exercises a quite un-equalled control over the proceedings; it's a fine testament to a great conductor. The Bayreuth acoustic is well reproduced, and this record is a profound and moving experience."
- GRAMOPHONE, 2008
"When the Bayreuth Festival reopened in 1951, Knappertsbusch worked closely with Wieland Wagner on orchestral matters (though the conductor was known to dislike the director's spare, revolutionary stage productions). Perhaps Knappertsbusch's most notable recording is his stereo account of Wagner's PARSIFAL [above]from the Bayreuth stage."
- Joseph Stevenson, allmusic.com
"Hans Knappertsbusch was one of the most renowned and beloved conductors of the German Romantic repertoire in the middle twentieth century. He spent several summers as an assistant to director Siegfried Wagner and conductor Hans Richter at the Bayreuth Festival and took part in the Netherlands Wagner Festivals in 1913 and 1914. After the end of World War I Knappertsbusch worked in Dessau and Leipzig, and in 1922 he was asked to succeed Bruno Walter as music director of the Munich Opera.
Knappertsbusch's personality was easygoing; he was notably free of the restlessness and undue ambition that often attended a rising career such as his. He was content mainly to stay in Munich, with the result that he never became as well-known as many of his colleagues. In any case, Munich fully appreciated Knappertsbusch's talents, and he was named conductor for life. However, he refused several demands made by the Nazis and was fired from his lifetime post in 1936. He conducted a memorable SALOME in Covent Garden in 1936 and 1937, and made some guest appearances elsewhere in Germany, but was content to maintain a low profile during the Nazi regime. He left Germany after the Munich debacle, settling in Vienna where he frequently conducted the Philharmonic and the Vienna State Opera. Knappertsbusch's career was again affected by the Nazis when Germany took over Austria over in 1938, but he was mostly able to steer clear of trouble.
Knappertsbusch gained a reputation for broad, magisterial performances of Bruckner, and more and more seemed to emerge as the representative of the traditional style of unhurried Wagner performances. He was famous for disliking rehearsals, often cutting them short; his orchestral players maintained that this was not the result of laziness, but of complete security in his interpretation and trust of the players. His performances were therefore not rigidly preconceived, but instead had a remarkable freshness and spontaneity."
- Joseph Stevenson, allmusic.com
“After an early career in provincial opera companies, Knappertsbusch succeeded Bruno Walter as conductor of the Munich Opera in 1922. Although he was fervently nationalistic and conservative, Hitler considered Knappertsbusch inept both as an opera manager and as an operatic conductor and in 1936 prohibited him from conducting anywhere in Germany. After several years as conductor at the Vienna Opera and the Salzburg Festival, he and Nazi-party authorities were reconciled. Hitler dismissed him as a ‘military bandleader’ but permitted him to conduct several times at the Nuremberg party rallies and at the celebration of his birthday. Knappertsbusch also conducted in occupied countries, once in Cracow at the invitation of the notorious Hans Frank, Governor of the rump state of Poland. After the war Knappertsbusch returned to Munich. He was known for his interpretations of Wagner and Bruckner and was a leading conductor at Bayreuth between 1951 and 1964, famed for his PARSIFAL performances.”
- Frederic Spotts, Great Conductors of the Third Reich
“Martti Talvela, a Finnish bass who appeared regularly at the Metropolitan Opera and was the director-designate of the Finnish National Opera, was most highly regarded in the Russian operatic repertory, and was considered a peerless interpreter of the title role in Modest Mussorgsky's BORIS GODUNOV, which he sang many times at the Metropolitan Opera. He also enjoyed considerable success as Dosifei in the Met's production of Mussorgsky's KHOVANSHCHINA.
His physical stature made him a natural for the mythical roles that were his specialty. He stood 6 feet 7 inches tall, and weighed close to 300 pounds. He became interested in opera after hearing a performance by the Russian bass Ivan Petrov, as Boris.
In January 1960, he won first prize in a lieder competition in Helsinki, and went to Stockholm to continue his studies with Carl Martin Ohmann. The following year he made his debut, as Sparafucile in Verdi's RIGOLETTO, at the Swedish National Opera.
Wieland Wagner, the composer's grandson and a noted stage director, heard one of Mr. Talvela's early performances and invited him to appear at Bayreuth in 1962. In 1963, he made his debut with the Deutsche Oper, in Berlin, and toured Japan with that company as Seneca in Monteverdi's INCORONAZIONE DI POPPEA. By 1965, he had made debuts at La Scala, in Milan, and at the Vienna State Opera, and was performing regularly at Bayreuth and Salzburg. Mr. Talvela made his American debut with a recital at Hunter College in 1968, and with performances at the Metropolitan Opera that same year.
In discussing his work, Mr. Talvela often spoke in passionate, mystical terms. ‘Singing is, for me, a combination of notes and visions’, he told a NEW YORK TIMES interviewer. ‘I must see pictures when I sing, and when I do not have those pictures in my mind, I am uncomfortable. Singing must be a passion, like the praying of the holy man, who is always thinking about how he can improve his prayers to make the message clearer. I am not a holy man - not at all - but I know how it is. In singing, everything must happen in the spirit, in the soul’.''
- Allan Kozinn, THE NEW YORK TIMES, 24 July, 1989
“In the many performances I have appeared in, there were many wonderful colleagues who had me in raptures. There were those with magnificent voices, or great musicians, wonderful actors or great personalities. But George London had it ALL. He was as impressive on stage as he was the wonderful colleague and friend in his private life.”
- Birgit Nilsson, as quoted in Leonardo A. Ciampa’s THE TWILIGHT OF BELCANTO, p.130
“George London was a dramatic and very expressive singer. In many roles he sang like a demonic panther with a sound of purple-black in color. London was a singer favoring the drama in a piece, varying color to suggest shifts of mood. His acting on stage was described as overwhelming. The special magnetism of this artist is documented on his great recordings. Every role he sang was sung with utmost expression and unbelievable commitment, truly a singing-actor!”
- Andrea Shum-Binder, subito-cantabile
"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 GOTTERDAMMERUNG. While Neidlinger capably essayed many other roles during his long career, Alberich is the role that remains indelibly linked to his name.
After studies at the conservatory in Frankfurt am Mainz, Neidlinger made his debut 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 premiere venues. Two years after joining the Stuttgart Opera in 1950, he made his Bayreuth Festival debut where his roles 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 Bohm 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 Kammersanger in 1952."
- Erik Eriksson, allmusic.com