Richard Wagner’s final opera, Parsifal (1882), breaks in many ways with his earlier works. The musical language is more lyrical and sensuous and points ahead toward the coming Impressionism, while the opera at the same time has a clear spiritual and religious focus. Drawing on the medieval stories of Parsifal, above all Wolfram von Eschenbach’s Parzival, Wagner wrote his own libretto. It is an opera about reconciliation, redemption, and community. For a long time Parsifal was performed only at the Wagner Festival in Bayreuth, before the work—despite protests from Wagner’s family—was staged at the Metropolitan Opera in New York in 1903. We have chosen ten recordings, listed in no particular order, that we consider indispensable, even though there are of course many more fine versions of this work.
Rudolf Moralt / Wiener Symphoniker (Walhall)
Rudolf Moralt is best known for his legendary 1949 Ring cycle from Vienna, but his 1948 Parsifal from the same city is just as compelling. He lets the music flow naturally, without losing the work’s spirit or vitality. Ludwig Weber has an ideal voice for Gurnemanz, combining warmth and expressiveness with strong declamatory clarity. Günther Treptow sings a heroic Parsifal with a dark tone and strong dramatic presence, while also showing tenderness when needed. Anny Konetzni’s Kundry sounds heavy and resonant, determined rather than mysterious. Paul Schöffler as Amfortas and Adolf Vogel as Klingsor round out the cast very well. The sound quality is remarkably clear for its time.
Richard Kraus / Kölner Rundfunk-Sinfonie-Orchester (Walhall)
Although the sound quality is far from ideal and Richard Kraus’s interpretation may not be the most distinctive, the 1949 Cologne recording is still outstanding from a vocal point of view. Martha Mödl, whose name later became almost synonymous with Kundry, makes her role debut here. It is fascinating to hear her early approach before the role fully developed in later years. Josef Greindl offers one of the finest Gurnemanz performances on record, with a dark, weighty bass and an interpretation full of wisdom and authority. Heinrich Nillius delivers a gripping Amfortas, while Bernd Aldenhoff sings a youthful, energetic Parsifal with a lyrical yet dramatic tenor. Robert Blasius makes Klingsor convincingly sinister.
Hans Knappertsbusch / Bayreuther Festspielorchester (Decca)
One could almost fill an article like this with Parsifal recordings conducted by Hans Knappertsbusch, given how many he left behind, all at a very high level. Here we focus on two standouts, starting with the 1951 live composite recording from Bayreuth on Decca. Knappertsbusch’s famously slow tempi never feel static. Instead, he allows the music to breathe in long arches, creating an almost ritual atmosphere throughout. Ludwig Weber, though sounding fresher in the Moralt recording two years earlier, still maintains a very high standard as Gurnemanz. Georg London gives a deeply passionate Amfortas, and Hermann Uhde is a strong Klingsor. Only two years after her Cologne debut, Martha Mödl shows enormous growth as Kundry, with greater drama, intensity, and mystery. This recording marks the moment when she became a central figure of postwar “Neubayreuth.” Wolfgang Windgassen, another Neubayreuth cornerstone, makes his Parsifal debut here, combining youthful passion with real dramatic power.
Fritz Stiedry / Metropolitan Opera Orchestra (Walhall)
Fritz Stiedry’s live recording from the Met in New York in 1954 has one of the finest vocal ensembles ever captured on record. Stiedry’s interpretation is faster than average, but it has fire and commitment, even if the sound leaves quite a bit to be desired—though it is fully acceptable for its time. Set Svanholm’s Parsifal has a beautiful yet heroic tone, and he stands out as one of the finest interpreters of the role on record. Astrid Varnay, best known as Brünnhilde and Isolde, here sings Kundry’s role with lyrical feeling and intense drama. Also notable are Hans Hotter—in splendid form as Gurnemanz—and George London’s characteristically intense Amfortas.
Hans Knappertsbusch / Bayreuther Festspielorchester (Decca)
Of Hans Knappertsbusch’s many recordings of Parsifal from Bayreuth, the only stereo version—recorded by Philips (now Decca) at the 1962 festival—is essential. To hear this great Wagner conductor shape Parsifal in genuinely good sound is unforgettable, with the ceremonial climaxes of Acts I and III gaining a unique sense of grandeur and visionary power. Vocally, the recording is of high quality, though it does not quite match the level of the conductor’s earlier Bayreuth versions, especially those from 1951 and 1955. Jess Thomas’s Parsifal still has heroic strength, and Irene Dalis’s Kundry is intensely convincing. Hans Hotter had clearly passed his vocal peak by this point, but he remains a powerful Gurnemanz. George London’s frighteningly intense Amfortas stands out vocally, together with Gustav Neidlinger’s dramatically brilliant Klingsor.
Pierre Boulez / Bayreuther Festspielorchester (Deutsche Grammophon)
Pierre Boulez’s Parsifal from Bayreuth in 1970, with its warm and full sound, caused major controversy when it was released because of its tempi—the fastest ever heard at this famous Wagner festival. Boulez’s interpretation differs sharply from the traditional German approach, where slow tempi had long been the norm. His Parsifal has freshness and an unexpected warmth, even if the ceremonial scenes do not reach the same level of spirituality as with Knappertsbusch. The cast suits Boulez’s concept in many ways: James King’s dramatically fresh Parsifal, Frans Crass’s powerful and human Gurnemanz, and a young Gwyneth Jones as Kundry, combining feminine sensitivity with dramatic bite. Best of all is Thomas Stewart, who delivers one of the most powerful and searching portrayals of Amfortas ever recorded.
Georg Solti / Wiener Philharmoniker (Decca)
Sir Georg Solti’s Decca recording with the Vienna Philharmonic from 1973 is partly controversial, as he places greater emphasis on orchestral power and virtuosity than on sacred spirituality. His interpretation may lack some depth, but few recordings of the work are as forceful and dramatically charged as this one, which also boasts superb sound. Solti’s version is further distinguished by one of the strongest vocal line-ups among studio recordings. Most impressive is Gottlob Frick’s wise and massively powerful Gurnemanz. René Kollo also offers a beautifully sung Parsifal, even if some high notes sound strained. Christa Ludwig is an intense and dangerous Kundry, while Dietrich Fischer-Dieskau brings a lieder-like inwardness and reflection to Amfortas.
Rafael Kubelik / Symphonieorchester des Bayerischen Rundfunks (Arts Archives)
Rafael Kubelik’s recording of Parsifal from 1980 was originally planned for release by Deutsche Grammophon, but—as with his Die Meistersinger von Nürnberg—it never appeared. While Kubelik’s Parsifal was finished and ready, the label instead released Karajan’s recording. In retrospect, Kubelik’s version clearly emerges as the better of the two, with consistently stronger singing. Kurt Moll is even more impressive here than with Karajan as a warm yet commanding Gurnemanz. James King gives one of his finest performances on record as Parsifal, sounding far less strained in this role than in some other. Yvonne Minton’s Kundry combines vocal elegance with drama—one of the finest portrayals from later decades. Franz Mazura’s Klingsor is also powerfully convincing. Kubelik’s interpretation itself is something special, marked by great depth, sensitivity, and majestic grandeur.
Herbert von Karajan / Berliner Philharmoniker (Deutsche Grammophon)
Herbert von Karajan’s 1981 recording with the Berliner Philharmoniker on Deutsche Grammophon was very warmly received when it was released. On a purely orchestral level—helped by a richly atmospheric sound—few other conductors can match Karajan’s refinement, focus, and expressive range. Karajan gives Parsifal a strong spiritual dimension, and the ceremonial scenes have an intensity that goes beyond the ordinary. Vocally, however, the recording is unfortunately more uneven in quality. The standout is Kurt Moll’s humane and wise Gurnemanz. José van Dam also delivers one of the most tormented Amfortas on record, with suffering in the voice that feels almost physically tangible when listening to it. Peter Hofmann’s Parsifal is often a bit too strained to be fully enjoyable. The same can be said of Dunja Vejzović’s unsteady Kundry.
Daniel Barenboim / Berliner Philharmoniker (Warner)
Daniel Barenboim’s 1991 studio recording of Parsifal is among the finest from the modern era. His deep love for the work is clear throughout, shaping sharp-edged dramatic moments with warmth and vitality. In the title role, Siegfried Jerusalem brings lyrical warmth and a bright tenor, with drama but without overt heroics. Waltraud Meier, who made her Kundry debut in Bayreuth at just 27 in 1983, delivers one of the most seductive and mysterious interpretations on record. Her voice has often been criticised for lacking sheer volume for roles like Kundry or Isolde, but she brings a unique and highly personal view to a role that allows many different approaches. The rest of the cast, led by José van Dam as Amfortas and Matthias Hölle as Gurnemanz, is fully convincing, even if it does not quite match the legendary ensembles of the 1950s and 60s.
Bonus
The Rome 1950 performance conducted by Vittorio Gui is unique for bringing Parsifal into an Italian operatic tradition. Maria Callas portrays Kundry as a deeply human, suffering bel canto heroine. This approach may not appeal to everyone, but it is certainly worth hearing at least once.
