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New York Post, February 17, 2013 |
By JAMES JORDEN |
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Wagner: Parsifal, Metropolitan Opera, 15. Februar 2013 |
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Bloody great!
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Like the hero of “Parsifal,” who finds the Holy Grail after a lifetime of
frustrated wandering, the Met’s audience was finally rewarded for its
patience: On Friday, after seasons of mediocrity, the company delivered a
magnificent new production of Wagner’s valedictory work.
Heading the superb cast was Jonas Kaufmann as the shy boy who grows into the
savior of the Grail. His brooding tenor sounded hushed and tentative in
early scenes before opening up to a full, throbbing cry for the cathartic
solo “Amfortas! Die Wunde!” in the second act. Later, for Parsifal’s return,
he tottered across the bare stage, shirtless and barefoot, his voice a
world-weary groan.
Matching him in intensity was Peter
Mattei, whose velvety baritone contrasted with the agony of the
guilt-wracked King Amfortas, so frail he had to be carried on by two of his
knights. Nobly handled, too, were René Pape’s long monologues as Parsifal’s
mentor Gurnemanz, every word emerging crystal-clear in his rich golden bass.
Evgeny Nikitin’s
scheming sorcerer, Klingsor, snarled with a chilling bass-baritone while
screechy high notes marred Katarina Dalayman’s otherwise lithe singing as
the enigmatic temptress Kundry.
The brightest star in this
constellation was conductor Daniele Gatti, who led an idiosyncratic,
romantic reading of the nearly five-hour score.
Sensuous orchestra
textures and lurching tempos conjured a disorienting effect befitting
Wagner’s dreamy story.
Enhancing the eerie feel, director Francois
Girard reset the medieval myth in a parched modern landscape inhabited by a
fundamentalist sect.
A prayer circle of business-suited men dominated
the stage with a huddle of veiled women segregated in a distant corner. And
in the mysterious second act, Parsifal confronted the seductive flower
maidens in a womb-like grotto awash in more than 1,000 gallons of stage
blood.
In this reverent take on the composer’s morality drama, every
movement evolved from the music, and the theme of spiritual redemption
always shone bright.
This “Parsifal” is the best work the Met has
done in years. Not only is it exquisite pleasure for the eye and ear, it’s
also food for the soul.
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