Aug - AmericanRadioHistory.Com

RECORDS
Orchestra and Chorus of the Bayreuth
Festival, 1951, Hans Knappertsbusch, cond.
LONDON LLA ro. Six 12 -in. $29.88.
PARSIFAL (vocal excerpts)
As before, the ordering; but the excerpts
are made far less significant by the fact of
the excellent full recording. The Bohnen
performance of Gurnemanz story to the
esquires is good, but not a must; the Edelmann
of Amfortas' agonized outburst as he
anticipates the pain of another communion,
very fine in tone but not very long on drama;
the Treptow -and- Blumenmädchea not much
use when you reflect that the solo girls used
to be great singers, not choristers. But the
Flagstad- Melchior account of the great Act
Il duet is so beautiful vocally as to make
up for sapless conducting. And even here,
the Leider singing of a part of the duet is
not bettered, although the Traubel is, and
by light -years.
-Act I: Titurel, der fromme Held. Michael
Bohnen (bs); orchestra. ETERNA ELP
0-474. 12 -in. $5.95 (in "Wagnerian Baritones
") .
-Act I: Nein! Lasst ihn unenthüllt! Otto
Edelmann (b); Vienna Symphony Orchestra,
Rudolf Morals, cond. EPIC LC 3052.
12 -in. $3.98 (with excerpts from Der
Fliegende Holländer; Tannhäuser; Die
Meistersinger) .
-Act II: Flower Maiden Scene. Günther
Treptow (t); Chorus of the Vienna State
Opera and Vienna Philharmonic Orchestra,
Hans Knappertsbusch, cond. LONDON LS
287. Io -in. $2.98 (with Prelude; Transformation
Scene).
-Act II: Parsifal -Kundry Scene. Kirsten
Flagstad (s), Lauritz Melchior (t), Gordon
Dilworth (b); RCA Victor Symphony Orchestra,
Edwin McArthur, cond. RCA VIC-
TOR LCT 1105. 12 -in. $3.98 (with excerpt
from Lohengrin).
-Act II: (part of scene above) Ich sah das
Kind. Frida Leider (s); orchestra, John
Barbirolli, cond. RCA VICTOR LCT 1001.
12 -in. $3.98 (in "A Wagner Treasury ").
-(same). Helen Traubel (s); RCA Vic-
tor Symphony Orchestra, Frieder Weissmann,
cond. RCA VICTOR LM 1123.
12 -in. $3.98 (in "A Wagner Recital ").
(-"Dresden State Opera Orchestra, etc.,
Fritz Schreiber, cond." ALLEGRO 3095.
12 -in. $5.95)
PARSIFAL (orchestral excerpts)
The standard cuttings for concert purpose,
are represented here quite well - the
Prelude and the "Transformation
Scene"
most feelingly in the Knappertsbusch readings,
of which the twelve -inch has better
sound. The "Good Friday Spell" ( i.e., orchestral
arrangement of Gurnemanz' long
speech on that subject in Act Ill) is very
luminously played in the Toscanini version.
The Stokowski Act III music is a mess -
the very word -of materials from Act Ill
cut up and stuck together with the blood
of the score. Of the disks that deal only
with Act III, the Krauss - no longer as
brilliant sounding as once - is more in the
vein than the lush new Beecham.
-Prelude; Transformation Scene (Act I) .
Vienna Philharmonic Orchestra, Hans
Knappertsbusch, cond. LONDON LL 451.
12 -in. $3.98 (with excerpt from Rienzi).
-(same; same performing elements.)
LONDON LS 287. to -in. $2.98 (with vocal
excerpt, Act II) .
-Prelude; Good Friday Spell. NBC Symphony
Orchestra, Arturo Toscanini, tond.
RCA VICTOR LM 6020. Two 12 -in. $7.96
(in "A Wagner Concert ").
-Prelude; Good Friday Spell. Orchestra
of the Munich State Opera, Franz Konwitschny,
cond. URANIA URLP 7065. I2-
in. $3.98 (with excerpts from Siegfried:
Götterdämmerung) .
-Prelude; "music from Act Ill." Symphony
Orchestra, Leopold Stokowski, cond.
RCA VICTOR LM 1730. 12 -in. $3.98
(with Schubert: Rosamunde, excerpts).
-Good Friday Spell. Royal Philharmonic
Orchestra, Sir Thomas Beecham, cond.
COLUMBIA ML 4962. 12 -in. $3.98 (with
excerpts from Der Fliegende Holländer;
Die Meistersinger; Götterdämmerung).
-Good Friday Music. London Philharmonic
Orchestra, Clemens Krauss, cond.
LONDON LL 14. 12 -in. $3.98 (with excerpts
from Tristan und Isolde).
(-Good Friday Spell. "Warwick Symphony
Orchestra" (Philadelphia Orchestra, Leopold
Stokowski, cond.). CAMDEN C 163.
12 -in. $1.98 (with Rimsky- Korsakov:
Russian Easter Overture. Glinka: Overture
to Ryden and Ludmilla.)
This concludes Wagner on Microgroove.
Next issue's Discography
will be Vocal Music of Bach by
Nathan Broder.
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