Gertsamtkunstwerk: More Parsifal (but no pictures)

Discussion of LA's Parsifal on hmcw,with some strong views, shall we say...

Also at Opera-L Los Angeles Parsifal do press 'next in topic' and Parsifal in Los Angeles.

Of the three substantive reviewers so far on Opera-L I trust Chris and Sergio and don't know Greg. Update Kirsten - another one I trust - has added her opinion, too.

For all the Placifal fans I will excerpt a few paras with thanks to the aforementioned posters.

Well, as with Wilson's "Butterfly,' seen 2 years ago in LA (and returning in a couple months), I found his stylization hypnotic and revealing for a significant portion of the night - but then the effect deadens and I am left unmoved. With an opera as long as "Parsifal,' this means a LOT of time sitting there, unmoved. Basically, the long Parsifal/Kundry scene in act two is where I started to drift away from the production, and most of act three slumbered for me. As did the lady next to me.

And Domingo? Slimmed down, but looking older than i remember, he sang with tremendous energy and beauty (when required). He fully gave in to Wilson's dictates - lying on the floor, doing the SLOW 'spin' when an instrumental passage leaves Wilson with no other idea of what to have the character do but a 360. How comfortable he was, I don't know. I sensed that he wanted to let loose a bit, dramatically.

There was so much that was wonderful about this Parsifal that I wish I could say I liked it more than I did, but still give it a strong endorsement. LA assembled a great singing cast; Nagano had the orchestra playing beautifully; the austere sets suited Parsifal well, and the lighting that Wilson is so well known for was spectacular

I felt more connection to the characters as the evening progressed, and was very absorbed in the Kundry/Parsifal intrigue in Act II; this scene was a high point for me, as opposed to Chris, who said he started to drift here. Domingo, ever the good soldier and solid professional, appeared to be trying his best to stay with the Wilson program, but he seemed like a man in a straitjacket, passion and the Grand Gesture barely contained, longing to
burst forth.

The literalists among us might have lamented much of what was missing. There was no kiss in this Parsifal, for example. Mind you, they did each turn and face in the same direction, with their right arms pointing out in parallel, which is pretty much what passes for interaction here.

I also saw a striking difference between Domingo and Chris Ventris (whom I have seen do the role three times so far, plus in the video) in the second act. With Ventris, after the kiss I get the feeling that he is unwavering in his rejection of Kundry's arguments - - she is beating her head against a wall - - whereas Domingo seems still to be fighting against temptation until the very end. I can't say that I find either approach preferable than the other, but they make for an interesting contrast.

A potential disaster. When Kundry brings the balm from Arabia in Act I, she doesn't deliver it to anyone; kneeling at the front of the stage, she simply reaches out and drops the vial, where it remains. Later in the act, as Domingo was s l o w l y walking backwards across the set, he started to step down on the vial, hesitated, and seemed to nearly stumble. I thought it would have put a bit of a damper on the evening if the title character had gotten launched into the orchestra pit.

Only Placido Domingo and Linda Watson were able to overcome the stillness and inject some emotion. Now the singing was first-rate ... Placido Domingo was superb in the title role, it is truly amazing that at 65 he is singing like in his 50's! His entrace truly heroic (like a true Heldentenor), a really powerful and even tone for "Amfortas!" in Act 2 and he sang "Nur eine Waffe" at the end of Act 3 as fresh as he started! He was also able to overcome Wilson's straigth jacket and let the emotion flow by small gestures and a really reflective facial expression.

Placido Domingo was in top form as Parsifal. It's been several years since I heard him live last time. Never have I been this much impressed by his evenness of singing and youthful ardor in live performances. Despite the stage direction that allowed no emotions he managed to communicate with his grimaces hidden behind the white face paint and determination in his voice. He slimmed down considerably and looked much younger with his dyed dark hair(wig?) and face painted in white. He sounded glorious however.