Mark Obert-Thorn ADD Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been Great Opera Recordings 8.110221-24 nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike 4 CDs those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard with WAGNER the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Parsifal piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and consistently achieves better results than restoration engineers working with the metal parts from the archives of the Windgassen • Mödl • Weber • London • Van Mill • Uhde modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is absent Bayreuth Festival Chorus • Bayreuth Festival Orchestra from many other commercially released restorations. Hans Knappertsbusch, Conductor Recorded during July and August, 1951 at the Festspielhaus, Bayreuth The Naxos Historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. 8.110221-24 12 Great Opera Recordings in bringing death to him and comfort to his Knights. Approaching the altar, Parsifal takes the Grail, now They urge him to reveal the Grail, but he is unwilling, shining with an unearthly light, and blesses those Richard for the sight of the Grail will prevent his death and gathered there. A white dove descends on his head, mean further unendurable pain. Kundry sinks to the ground and Amfortas and ! Parsifal comes forward, holding aloft the Spear Gurnemanz now kneel before him. WAGNER and then lightly touching Amfortas with it, for this Parsifal alone can bring the relief that Amfortas craves. Keith Anderson Producer’s Note Parsifal . Wolfgang Windgassen This classic Knappertsbusch recording of Wagner’s Parsifal was made using portions of several performances at the Bayreuth Festspielhaus during July and August of 1951. Decca had not been employing the medium of Kundry . Martha Mödl magnetic tape for very long by that time; and although the balance is good and the sense of atmosphere palpable, Gurnemanz . Ludwig Weber changes in perspective and audience noise are noticeable at some of their edits. Amfortas . George London There are other problems with the original master, including post-echo (after Kundry’s octave leap in Act II, Titurel . Arnold van Mill for example) and swishing sounds (probably caused by bad tape azimuth alignment during the loud portions at the Klingsor . Hermann Uhde opening of Act II), neither of which could be corrected. I have, however, fixed the pitch drop at the end of Act III which plagued later LP reissues of this recording, and have also restored a chord (just before the appearance of the First Knight of the Grail . Walter Fritz Knights of the Grail in the same act) which was unaccountably cut in some LP editions. Second Knight of the Grail . .Werner Faulhaber First Squire . Hanna Ludwig Second Squire . Elfriede Wild Third Squire . Günther Baldauf Fourth Squire . Gerhard Stolze Flower Maidens . Lore Wissmann, Erika Zimmermann, Hanna Ludwig, Paula Brivkalne, Maria Lacorn and Elfriede Wild Solo Alto Voice . Ruth Siewert Bayreuth Festival Chorus and Orchestra (Chorus Master: Wilhelm Pitz) Hans Knappertsbusch, Conductor Recorded during July and August, 1951 First issued on Decca LXT 2651 through 2657 8.110221-24 2 11 8.110221-24 tells Kundry, who is in his power, to deal with Parsifal approaching. It is Parsifal, dressed in black armour and CD 1 55:15 as she did with Amfortas. 2 Kundry is unwilling, but is appearing uncertain of himself. 3 Gurnemanz Act I Part1 reminded that whoever resists her will break the spell welcomes his guest, but tells him to lay down the spear 1 Prelude 14:16 that binds her. 3 In his glass Klingsor sees Parsifal he carries, for the place is holy and the day is Good 2 He! Ho! 5:55 enter the magic garden, using his sword to quell the Friday. Parsifal lays down his sword and shield, putting 3 Seht dort, die wilde Reiterin! 3:19 opposition of Klingsor’s knights. Kundry, meanwhile, his spear in the ground. He takes off his helmet and (Gurnemanz, Knights, Squires, Kundry) has made off, to do as she must. kneels in prayer. 4 Recht so! Habt Dank! 7:01 4 In the garden Flower Maidens are heard lamenting 4 They recognise each other and Parsifal explains (Amfortas, Gurnemanz, Knights, Kundry) the departure of their lovers. Parsifal gazes down at how, after all his wandering and suffering, he is seeking 5 He! du da! 7:46 them in astonishment. 5 The Flower Maidens invite out the one whose suffering he once saw, bringing with (Squires, Knights, Kundry) Parsifal to join them, playing around him and vying him, unsullied, the Holy Spear. 6 Das ist ein and’res 5:07 with one another for his attention. Parsifal rejects their 5 Gurnemanz is astonished, but tells Parsifal that it (Gurnemanz, Squires) blandishments, while admiring their beauty. 6 Kundry was a curse that drove him to wander, while Amfortas, 7 Titurel, der fromme Held 11:51 appears, now transformed into a beautiful woman, and in his pain and despair, no longer performed his holy (Gurnemanz, Squires) calls Parsifal by his name. 7 She tells him of his father, office, denying the Knights the comfort and sustenance the meaning of his name and of his mother’s sorrow that the Grail would bring and thus causing the death of CD 2 62:10 and death. 8 He is drawn towards her and, 9 as she Titurel. 6 Now finally Parsifal, who blames himself for Act I Part 2 kisses him, feels the pain that had afflicted Amfortas all this, will be brought to Amfortas, purified by the 1 Weh! Weh! 7:38 and recoils in horror. 0 He resists all she can do to lure holy spring water with which Kundry bathes his feet. (Knights, Squires, Gurnemanz, Parsifal) him and she curses him, calling out. ! She seeks, 7 Gurnemanz anoints him with the holy water, 2 Nun sag’: nichts weist du 7:26 through him, her own redemption. Klingsor appears greeting him as one who has reached enlightenment (Knights, Squires, Gurnemanz, Parsifal, Kundry) and hurls at him the Spear, which remains suspended through suffering and now preparing him for the last 3 Vom Bade kehrt der König heim (Transformation Music) 7:47 over Parsifal’s head. He seizes it, making with it the revelation of the Grail that Amfortas has now promised. (Gurnemanz, Parsifal) sign of the cross, at which the castle sinks and the Parsifal performs his first duty by baptizing Kundry and 4 Zum letzten Liebesmahle 6:28 garden withers, while Kundry sinks to the ground. looks around at the beauty of the countryside. (Knights, Youths, Boys) Act III @ The Prelude to Act III evokes the spirit Gurnemanz tells him that it is Good Friday, the fields 5 Mein Sohn Amfortas 11:29 of desolation that has fallen upon the realm of the Holy and meadows now moist with holy dew and with the (Titurel, Amfortas) Grail in an opening motif from the first violins. A tears of penitents. He sings of the joy of creation and 6 “Durch Mitleid wissend, der reine Tor” 8:54 second motif represents the wandering of Parsifal in the Parsifal, turning to Kundry, gently kisses her. (Boys, Youths, Knights, Titurel, Voices) time that has now elapsed between the second and third 8 Bells announce midday and Gurnemanz dresses 7 Wein und Brot des letzten Mahles 5:23 act. Finally he returns, to the sound of the Innocent Fool Parsifal in the mantle of a Knight of the Grail. Taking (Boys, Youths, Knights) motif and the motif of the Spear. the Spear, Parsifal follows Gurnemanz, accompanied 8 Liebesmahle Music 4:33 CD 4 by Kundry, as the scene gradually changes from open 9 Was stehst du noch da? 2:32 1 The scene is open country, in the realm of the country to rocks that open to reveal the temple of the (Gurnemanz, Alto, Voices) Grail. It is early morning and Gurnemanz, now an old Grail. man, comes out of his hermit’s hut, hearing the sound 9 A procession of Knights bears in the Grail, with of Kundry’s groans from the undergrowth. 2 She is Amfortas, while another group carries in the body of now dressed as a penitent and he tries to revive her. Titurel, whose death is blamed on Amfortas and his sin. Now she would only wish to serve him, but he tells her They bid him perform his office for the last time. that now the Knights have to look to themselves, in 0 The coffin of Titurel, placed before the stone their desolation and poverty.