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Subject: Re: Met Parsifal Prima: Welcome to Monsalvat
From: "G. Paul Padillo" <[log in to unmask]>
Reply-To:G. Paul Padillo
Date:Wed, 7 Feb 2018 09:47:06 -0500
Content-Type:text/plain
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Sorry you had to miss the first two acts, but glad you got to get in on Act 
III, David.  I also noticed the tiniest bit of strain – only in one phrase – in 
Mattei’s Amfortas during the first act as well.  

Similarly, Pape had several moments om Act I where the voice was barely 
audible over the radio – but it was there.  I wondered how it came off in 
the house, and was pleased during the first intermission to hear rock 
goddess, Patti Smith’s live interview and her thoughts on the act.  She 
mentioned the “softer edge” (I think that’s how she described it) to his 
sound compared to his last Gurnemanz, stating how there were several 
notes where you couldn’t hear him, but you knew what he was singing and 
THAT he was singing and combined with his movement, expressions, etc., 
and you FELT it making his portrayal even more touching.  Wow! I felt the 
same.  

I loved your description of prior Klingsors in “Uncle Fester” drag.  I 
remember thinking the same thing with the last Gunther Schneider-
Siemssen production. I’m sorry you missed Nikitin this go round, but as I 
mentioned, he was simply tremendous, the voice just roaring through that 
music in a way that makes it beautiful and creepy.  I’ve never met Nikitin 
but he is a FB friend, so I wanted to send him congratulations after Act II – 
figuring he was done for the night.  He responded quickly, but it wasn’t 
until the end of the performance I when remembered there are no bows 
until after Act III– so his response to me came while he was still bloodied 
up and in costume.  Wicked cool.  

Parsifal has long been my favorite opera and I wish each performance 
could be broadcast, but I look forward to the next (and last) on the 17th 
and, even more so, attending the final performance on the 27th.  

Enthüllet den Gral! - Öffnet den Schrein!

p.

David Wagner wrote:

As some of you know I was only able to tune in for Act III, but I agree with 
everything G.Paul says about it, including Pape's phrasing. Just one thing: 
at the very pinnacle of Amfortas's delirium scene, I thought I heard a little 
bit of strain in Mattei's voice, which wasn't there in the awesome and perfect
perfect Amfortas I heard from him in the house in 2013.

Nikitin was in that performance too, so I can easily believe the praise here, 
and I look forward to the 17th. Two things: G.Paul is right about the attractiveness of the Flower Maidens, and Nikitin's voice. I'll add 
attractiveness of the Flower Maidens, and Nikitin's voice. I'll add one thing: 
it was good to have a break from the "Uncle Fester" image of Klingsor that 
was used to good effect in both of the last two productions. This time, 
Klingsor is more of a gone-to-seed heavymetalist (which, in fact, Mr. Nikitin 
does in his spare time, minus the gone-to-seed part). He's also downstage, 
reveling in the ground-blood, so those of us who like a real tower will have 
to wait, but that's ok, we've had Klingsor tower recently (even though 
Merrill/O'Hearn's was basically made of curtains). 

One more thing: Gergiev (there, I said it. Is he forgiven now, with all the stress about Levine, Copley, etc.? Maybe a little?) 
stress about Levine, Copley, etc.? Maybe a little?) - in Gergiev's Parsifal you can hear Nikitin's Amfortas. His Klingsor is, of course, Putilin 
you can hear Nikitin's Amfortas. His Klingsor is, of course, Putilin - with that wiry sound G.Paul speaks of.

Oh and yeah, the EBS cut
that wiry sound G.Paul speaks of.

Oh and yeah, the EBS cut-in: I was NOT in a good mood, having missed the 
the first two acts, so my oration at the laptop (on which I receive Sirius) was 
was "Real emergency? Wait'll I catch YOU - THEN we'll have a real  
emergency!"

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