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Subject: Re: Parsifal: Met Saturday Matinee
From: Maria Wolansky <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Sat, 17 Feb 2018 19:52:30 -0500
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My husband and I were at the MET today for Parsifal. I agree with Donald, Paul and Bob. Vogt did play the innocent very well. We were not displeased with him. My big complaint:  during the Good Friday music - why must there be all this stupid stage business to distract from the glorious music?!  Why do directors think they need to entertain us during orchestral interludes?  I looked over to my husband and he had closed his eyes -  haha, we were thinking the same thing. 

Sent from my iPhone

> On Feb 17, 2018, at 7:42 PM, donald kane <[log in to unmask]> wrote:
> 
> I thought the Kundry and the Parsifal were adequate, no more; everything
> else, as you,. Bob, and Paul have said, was eminently satisfying.  Most
> satisfying of all is the music.  Putting EVERYTHING else aside, does
> music, as music, get any better than PARSIFAL?  To anyone who says
> how about Mozart and Verdi , I say let's change the subject.
> 
> 
> 
> dtmk
> 
> On Sat, Feb 17, 2018 at 6:15 PM, RONALD MAGNUSON <[log in to unmask]>
> wrote:
> 
>> I also was impressed with Nézet-Séguin today, in spite of a tentative
>> start. The slow sections shimmered with etherial string playing and
>> glorious brass utterances.  He has a fine sense of the score and produces
>> biting accents, crisp rhythms and finely balanced, individually colored
>> ensembles. He knows how to implement an effective ritard to lead to a
>> shattering climax. Really nicely done.
>> 
>> I thought that Pape sounded thin with a hint of a hollowed out bass at his
>> opening phrases but then seemed to gather strength as he progressed.  As
>> was mentioned, his exquisite phrasing and sensitive voice coloring to shape
>> each phrase produced a masterful interpretation.
>> 
>> Vogt's interpretation was highly unusual to these ears, as a young
>> sounding, unheroic Parsifal.  It worked for me as far as the "pure fool"
>> was concerned, but the lack of vocal characterization with the development
>> of the character became problematic.  Everything that he sang sounded
>> "pretty".  The same approach, the same dynamics, the same phrasing produced
>> a monotonous result for me.
>> 
>> I concur with Mr Padillo's perceptive comments about the rest of a very
>> satisfying DAY of music.
>> 
>> 
>> Ron Magnuson
>> 
>> 
>> 
>> 
>>> 
>> 
>>> On February 17, 2018 at 5:31 PM "G. Paul Padillo" wrote:
>>> 
>>> 
>>>    As predicted, while the prima was wonderful, today's matinee
>> performance (as is usually the
>>>    case) this 2nd (and final) broadcast it for the season, was
>> absolutely remarkable. Maestro
>>>    Nézet-Séguin had more "pull" with that spiritual feel (are there
>> better words to describe
>>>    this?) in certain slower sections. There was much in evidence with
>> that vibration in the
>>>    strings again making the score electrifying even in quiet moments.
>> The chorus, of course,
>>>    was exemplary and the music making was at that level one always
>> hopes to experience.
>>>    We did.
>>> 
>>>    Rene Pape sounded healthier and stronger in the lower range than the
>> prima, the lowest
>>>    passages firm and elegantly produced; each word of Gurnemanz's
>> narrations weighted for
>>>    maximum impact. His great first act narrative bringing tears to my
>> eyes. Then, as he
>>>    always does in the Good Friday music - presenting only some of the
>> most moving singing
>>>    one will likely hear in this music today. When I first heard his
>> Gurnemanz, years ago, the
>>>    phrasing throughout was perfection, but at:
>>> 
>>>    "Das dankt dann alle Kreatur, was all' da blüht und bald erstirbt da
>> die entsündigte Natur
>>>    heut' ihren Unschuldstag erwirbt."
>>> 
>>>    just the delivery of "alle Kreatur" took my breath away. It did so
>> again today.
>>> 
>>>    I've come to the conclusion Yvegny Nikitin is, hands down, the
>> greatest Klingsor in my
>>>    lifelong obsession with this opera. No one has ever roared, ripped
>> and blasted their way
>>>    through the role, nor presented a more maniacal, masculine menace
>> with such enormity of
>>>    sound than he. While Klingsor is the bad guy, you need one to make
>> the heroes "heroes."
>>>    I am looking forward to seeing/hearing his performance as I am any
>> other element of this
>>>    entire opera.
>>> 
>>>    Ms. Herlitzius sounded better - a little "smoother" but still will
>> always be a Kundry of the
>>>    "wildling" order. Her Act II was thrilling and played off of Vogt's
>> boyish hero perfectly,
>>>    adding a "Mrs. Robinson" quality to the proceedings.
>>> 
>>>    I didn't think Peter Mattei could do more than he did earlier, but
>> today the totality of his
>>>    Amfortas again was simply heart wrenching. The perfect portrayal
>> despair and anguish that
>>>    somehow made those two things sound never less than beautiful.
>>> 
>>>    I've gotten used to applause at the end of Act I, and although I
>> don't applaud still, recall a
>>>    Met Parsifal sometime back, when I didn't applaud, after the first
>> act curtain, and my entire
>>>    row turned and looked at me as though I'd just eaten their young.
>>> 
>>>    I cannot, however, abide idiots who begin, as happened today,
>> applauding WHILE the
>>>    orchestra is still playing the final bars. I can forgive and even
>> "get it" at the end of a blood
>>>    'n thunder opera, but Parsifal simply IS NOT an opera you jump in
>> clapping during the last
>>>    bar. A nuisance, but even that could not spoil what was nearly as
>> perfect an afternoon of
>>>    opera as one could hope for.
>>> 
>>>    Bravo a tutti to all involved!
>>> 
>>>    p.
>>> 
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