Waltraud Meier

WALTRAUD MEIER CAREER

Waltraud Meier, German mezzosoprano. Born 1956, Würzburg, Germany.
Education: No formal music education.
It is widely agreed that Waltraud Meier is the only truly compelling female Wagnerian singer on stage today.

After language studies in Würzburg, Waltraud Meier was engaged at the Würzburg Opera in 1976. After engagements with various German opera houses, Waltraud Meier´s big breakthtrough came after she, on her own initiative, phoned up the Bayreuth Festival, asked for an audition and subsequently was hired as Kundry in 1983, 27 years old at the time. Becoming virtually famous overnight, her career took off from there and since then she has appeared in all the major opera houses.
Waltraud Meier considers Bayreuth her artistical home and was a cornerstone presence between 1983-2000, as Kundry 1983-93 (released on CD), Isolde 1993-99 (released on DVD), Sieglinde (2000), Waltraute in the Barenboim/Kupfer Ring (released on DVD) as well as Brangaene (1985). In 2000 she left the Festival after a conflict with the Festival Management.
The companies, with which she has the closest associations are the Berlin State Opera and Bavarian State Opera, where she has performed her entire Wagnerian repertoire. Past seasons have seen several appearances at the Paris Bastille Opera (Isolde, Kundry and Ortrud) as well as the Metropolitan Opera (Kundry, Santuzza, Sieglinde, Marie, Waltraute, Isolde).

At the Metropolitan Opera, she made her debut as Fricka 1987 when the Schenk/Levine Ring was new, and has subsequently returned as Kundry, Carmen, Venus, Santuzza, Fidelio, Isolde (one performance only), Sieglinde, Marie and Waltraute.
Her closest artistical collaboration is with Daniel Barenboim for more than 20 years, resulting in countless performances and recordings of, amongst other things, her entire Wagnerian repertoire. Waltraud Meier:

"It frustrates me that pitch is half a tone higher than it was in Wagner's time. If it was that bit lower, I could sing Brünnhilde, as well as Strauss's Salome and Verdi's Lady Macbeth. But today they lie just too high for me - I could not get them into my throat."

 "Kundry is bottomless, and is still after more than twenty years a source of inspiration and will probably always remain so."

Emphasizing concert and lieder singing, Waltraud Meier devoted the 2003-4 season to lieder.
Vocally, Waltraud Meier is a mezzo-soprano with a flexibility towards the top allowing her for (limited however) ventures into the soprano repertoire, most notably with Isolde, but also with Fidelio-Leonore, while other of her cornerstone parts such as Sieglinde, Wozzeck-Marie and Ortrud may be considered zwischen-fach.

Waltraud Meier´s floating expressivity comes fully to its right in Wagner, where, on good nights, her voice cuts through the orchestra like a razor-blade and the high Cs are effortless thrown out. She has a tendency to be sharp in the high register, which on off-nights may result in a not negligeable amount of off-pitch singing as well as considerable difficulty with the topnotes.

However, Waltraud Meier is a formidable presence on stage with entirely compelling acting skills and maximal expressivity, vocally as well as dramatically. None of her recordings come even close to capture the electricity she generates in live performances.
Waltraud Meier´s most important parts are Kundry, Isolde, Ortrud and Sieglinde, where she is virtually unequalled as a singer-actress.

"The most important thing for me is: What happens on the stage must have something to do with the piece! Directorial liberty is too often misunderstood! You consider the audience to be fools if you think a problem may only be understood if it takes place in a present-time setting.. Of course I am not advocating old-fashioned productions... Directors like Ponnelle, Friedrich, Bondy or Chéreau are the true masters as I see it. I feel that several directors - especially in spoken theater - abuse the pieces for their own vanities sake, rather than have the courage to write a piece of their own."

WALTRAUD MEIER KEY ROLES AND PERFORMANCES

Kundry (Parsifal) - Waltraud Meier´s signature part, with countless performances since her debut 1982 in Dortmund. Most notably in Bayreuth 1983-92, Metropolitan Opera from 1992 (released on DVD), Baden-Baden Festival 2004 (released on DVD), La Scala 1991, Berlin State Opera (countless performances), Paris Bastille Opera 2008, Vienna State Opera (many performances, latest in 2011).

Isolde - Waltraud Meier´s other signature role, with which she made her debut in Bayreuth 1993. Countless performances, and three DVD releases. Most important productions: Bayreuth 1993-99 (Müller/Barenboim - released on DVD), Bavarian State Opera (Konwitschny/Mehta - released on DVD), Salzburg Festival 2000 (Grüber/Mehta), Vienna State Opera (Everding production), Berlin State Opera ( continuously in Kupfer/Barenboim prod), Paris Bastille Opera 2005, 2008 (Sellars/Viola), La Scala 2007, 2009 (Chéreau/Barenboim - released on DVD), 2008 Metropolitan Opera.

Waltraud Meier has publicly stated the 2007 La Scala production to be the most revelatory Isolde production she has participated in, "completely overwhelmed" by Chéreau´s capabilities as a stage director.

Ortrud (Lohengrin) - debut 1998 at the Bavarian State Opera. Most important productions include: London Royal Opera, Berlin State Opera, Baden-Baden Festival 2006 (released on DVD), Paris Bastille 2007, Munich 2010-11

Sieglinde - 1992 debut in Vienna with Plácido Domingo. Important productions include the Munich Ring (Alden), London Ring (Warner), Berlin State Opera Ring (Kupfer), Bayreuth Ring 2000 (Jürgen Flimm), Paris Châtelet Ring (Wilson), La Scala Walküre with Muti, Barenboim-Cassiers Berlin-La Scala Ring (2010-12), Metropolitan Schenk Ring (2009)

Venus (Tannhäuser) - performance include Bavarian State Opera 1995 (released on DVD), Baden-Baden Festival 2008 (released on DVD)

Carmen - Waltraud Meier´s Carmen in the 1997 Zeffirelli-directed new production at the Met was probably the low-point of her career, and the only time she received over-all negative reviews. Waltraud Meier says:
"I have enormous respect for Zeffirelli, but our two styles just didn't match. The staging was folkloristic, with horses on stage and that sort of thing. It was the most horrible time, but I don't think about it any more. A mistake? Well, my philosophy is that there are no faults, only errors. You learn from your mistakes and come through knowing more."

Subsequently she sang the part in Dresden 2005, but now seems to have retired it.

Marie (Wozzeck) - Berlin State Opera 1994 (released on DVD), Paris (2009), Munich (2010-12), Met (2011)

Fidelio - Debut 1998 with Barenboim in Chicago. Notable productions include La Scala 1999 (Muti), Metropolitan Opera (Flimm), Bavarian State Opera , Valencia 2006 (available on DVD), Berlin State Opera, Vienna State Opera 2011

Other non-Wagnerian parts include Eboli (on DVD from Châtelet), Amneris, Santuzza (Met 2010), Didon, Giulietta (notably in Salzburg 2003), Klytemnestra (Salzburg 2010 - on DVD). Currently only Fidelio, Santuzza, Marie and Klytemnestra seems to be in Waltraud Meier´s active non-Wagnerian repertoire.

WALTRAUD MEIER - THE FUTURE

Waltraud Meier swill sing Klytemnestra in the new Patrice Chéreau Elektra production at the Met around 2013.

WALTRAUD MEIER ON CD (SELECTED)

Isolde (Tristan and Isolde), Barenboim 1995.
Kundry (Parsifal), Levine 1985.
Kundry (Parsifal), Barenboim 1991.Kundry (Parsifal). Thielemann, 2006.Sieglinde (Walküre). Mehta, 2002.
Ortrud (Lohengrin), Abbado 1994.
Venus (Tannhäuser), Barenboim 2002.
Fidelio, Barenboim 2006.

Frauenliebe und leben - Lieder by Brahms, Schubert and Schumann, 1998.
Mahler orchestral songs, Maazel 1999.Various Mahler, Wagner, Wolf. Barenboim 1999.
Wagner Gala, Abbado 1993.

WALTRAUD MEIER ON DVD

Don Carlos (Paris Châtelet 1996, d: Bondy, c: Pappano)

Elektra (Salzburg 2010, d: Lehnhoff, c: Gatti)
Fidelio (Valencia 2006)Lohengrin (Baden-Baden Festival 2006, d: Lehnhoff, c: Nagano)

Ring des Nibelungen (Waltraute 1991, d: Kupfer, c: Barenboim)
Tannhäuser (Bavarian State Opera 1995, d: Alden, c: Mehta)
Tannhäuser (Baden-Baden 2008, d: Lehnhoff, c: Jordan )
Tristan and Isolde (Bayreuth Festival 1995, d: Müller, c: Barenboim)
Tristan and Isolde (Bavarian State Opera 1998, d: Konwitschny, c: Mehta)
Tristan and Isolde (La Scala 2007, d: Chéreau, c: Barenboim)Parsifal (Metropolitan Opera 1992, d: Schenk, c: Levine)
Wozzeck (Berlin State Opera 1994, d: Chéreau, c: Barenboim)

I follow a voice within me - portrait DVD, 2002

Waltraud Meier - Isolde´s liebestod (Chéreau/Barenboim, La Scala 2007):

Waltraud Meier as Ortrud (with Tom Fox) - (Lehnhoff/Nagano, Baden-Baden 2006):

WALTRAUD MEIER LIVE PERFORMANCES REVIEWED BY MOSTLY OPERA

Fidelio - Bavarian State Opera 2007
Ortrud (Lohengrin) - Paris Bastille Opera 2007
Isolde - Bavarian State Opera 2007, La Scala 2007, Madrid Teatro Real 2008, Berlin State Opera 2008, Paris Bastille Opera 2008
Kundry (Parsifal) - Paris Bastille Opera 2008 , Berlin State Opera 2009 (twice)
Sieglinde (Walküre) - Act 1 in concert, Bavarian State Opera 2007
Sieglinde (Walküre) - complete in concert, Barcelona 2008
Sieglinde (Walküre) - Act 1 in concert, Berlin Waldbühne 2008

WALTRAUD MEIER - LINKS

Waltraud Meier official website
All posts on mostly opera related to Waltraud Meier
Wikipedia biography on Waltraud Meier

Waltraud Meier - a portrait

I follow a voice within me - a 2002 documentary on Waltraud Meier

This is a portrait DVD of acclaimed German mezzo-soprano Waltraud Meier including a live performance of Das lied von der Erde.

Considering, this is supposedly an introductory portrait DVD, the selection of clips are rather curious, though. Virtually all video footage on this DVD is otherwise not commercially available, and as such is interesting for those already familiar with Waltraud Meier. As an introduction to the artist Waltraud Meier, I´d have thought extended clips from staged performances more appropriate. However, the choice of material was no doubt limited by contractual issues.

Rather surprisingly, we don´t see Waltraud Meier in her signature role as Kundry. Admittedly she appears twice (Metropolitan and Baden-Baden) on commercially available DVDs, however a clip from an otherwise not available performance, or even a clip from one of these DVDs would have been most welcome. However, I suppose contractual issues are at play here, as well.

Waltraud Meier´s second signature part as Isolde, we see during brief rehearsals of the Heiner Müller production in Bayreuth, now available on DVD. Admittedly, Waltraud Meier´s Isolde is not exactly underrecorded as it is available thrice on DVD - the aforementioned Heiner Müller production as well as her later Munich Isolde and the Chéreau/Barenboim Scala production from 2007.

Her Sieglinde we see in piano and orchestra rehearsals of the (not commercially recorded) Jürgen Flimm Ring, with Plácido Domingo in Bayreuth. For some entirely unimaginable reason, her Sieglinde (or Domingo´s Siegmund) is not commercially available on DVD, despite them turning out the most convincing Wälsunge twins of countless years.

Waltraud Meier´s dashingly brilliant Ortrud we again see only briefly from a rehearsal of the old Vienna Lohengrin production. For the complete Ortrud, one has to seek out the DVD of the Lehnhoff production from Baden-Baden.

Outside of Wagner, Waltraud Meier is (or at least: 5 years ago she was) a great Fidelio-Leonore, here seen rehearsing the rather boring Mussbach production in Munich (with Matti Salminen).

Of her non-Wagnerian parts we get a brief glimpse of Amneris (with René Pape) from Berlin and the Ariadne-Composer (Vienna). The only clip from a commercially released performance is that of her Marie in the Chéreau Wozzeck production from Berlin. Among her other non-Wagnerian repertoire, Waltraud Meier is, by the way, also a great Santuzza. Obviously selections have to be made but I would have been particularly interested in seeing her as Carmen.

Otherwise we see her at Tannhäuser recording sessions (with Peter Seiffert and Daniel Barenboim) as well as in Rückert-lieder rehearsals (Daniel Barenboim at the piano) in Chicago

All clips are interrupted by short interviews with Waltraud Meier as well as colleagues.

The second half of the DVD includes a fine, but unexceptional complete live performance of Das lied von der erde with tenor Torsten Kerl and Semyon Bychkov.

The bottom line (scale of 1-5, 3=average):

4-5

Best Tristan DVD on the market: Barenboim Chéreau Meier La Scala production released

Tristan and Isolde. La Scala, 2007. Director: Patrice Chéreau. Cast: Waltraud Meier (Isolde), Ian Storey (Tristan), Michelle De Young (Brangäne), Gerd Grochowski (Kurwenal), Matti Salminen (King Marke). Conductor: Daniel Barenboim. Further information here.

Finally, after a year, this revelatory production, the most successful La Scala season opening in years, has arrived on DVD. I saw it live at La Scala last year, and it remains the highlight of my operagoing experience.

Really, I do not have much to add to my previous description of this simply astonishing production, one of the rare instances of opera truly being more than just a sum of the individual parts. With equal emphasis on the simply outstanding achievements of Patrice Chéreau, Daniel Barenboim and Waltraud Meier.

First, Waltraud Meier is an entirely compelling Isolde. Vocal shortcomings or not (I may add she is on fine form here), she simply inhabits the character of Isolde and the myriads of facets of her superb acting are convincingly transferred to this DVD. I remember how the entire house was paralyzed by the intensity of her liebestod, by far the most moving version I have seen her do. Undoubtedly giants of the past such as Astrid Varnay and the likes could do things with their voice, which Waltraud Meier cannot. However, Waltraud Meier can do things with the character on stage, which those of the past could certainly not.
This is the third DVD featuring Waltraud Meier´s Isolde (preceded by the Müller-Barenboim Bayreuth production and Konwitschny´s Munich staging), and by far the best. Even though Heiner Müller´s Bayreuth production had Daniel Barenboim and a superior Tristan in the shape of Siegfried Jerusalem. But they had no Patrice Chéreau to humanize the drama. In fact, he was asked, but declined. Incidentally, he also declined to stage the 1982 Bayreuth Tristan, which then went to Ponnelle..

Admittedly Patrice Chéreau´s staging is dark and sombre - a ship, a seawall, grey concrete walls encapsuling the drama. Distinguished by his superb personal direction of the singers and thorough analysis of the text, he transmits the emotions unlike any other director I am familiar with. Perhaps with one exception - as Patrice Chéreau has explained, he sees the second act love duet as a philosophical power struggle between Tristan and Isolde, and he may well be right. It would just have been so much more compelling to have it acted out in real.

Also Daniel Barenboim´s third Tristan and Isolde on DVD (he started out with the 1982 Bayreuth Ponnelle production), he more than keeps everything together.The poignancy and engaging interpretation places him high above anyone else both on or off DVD, including his own previous Bayreuth productions, perhaps as a result of this Scala DVD being recorded live.

Best of the rest was Matti Salminen´s dignified King Marke. Ian Storey definitely looks and acts the romantic hero. Vocally his timbre does not appeal to me, but he more than gets away with it. Michelle De Young does to a lesser degree, though she gains from the transfer to DVD. Gerd Grochowski portrays an energetic Kurwenal, vocally perhaps on the dry side.

It this the best Tristan and Isolde DVD on the market? Yes. Without doubt and with a large margin to the next (which in my opinion are Barenboim´s two previous Bayreuth productions, Ponnelle´s and Heiner Müller´s).

Act 1: Isolde´s narration and curse:

Act 1: The love potion - one of the highlights of the production:

Waltraud Meier´s liebestod:

The bottom line (scale of 1-5, 3=average):

Waltraud Meier: 5
Ian Storey: 4
Michelle De Young: 3
Matti Salminen: 5
Gerd Grochowski: 4

Patrice Chéreau´s production: 5

Daniel Barenboim: 5

Overall impression: 5

Tristan and Isolde DVD: Waltraud Meier in the Konwitschny production from Munich

Tristan and Isolde. Bavarian State Opera 1998. Production: Peter Konwitschny. Cast: Waltraud Meier (Isolde), Jon Frederic West (Tristan), Kurt Moll (King Marke), Bernd Weikl (Kurwenal), Marjana Lipovsek (Brangäne). Conductor: Zubin Mehta. Further information here.

Peter Konwitschny created this Tristan and Isolde for the Bavarian State Opera (Munich) in 1997 with Waltraud Meier as Isolde and Siegfried Jerusalem as Tristan. Waltraud Meier, thankfully is present on this DVD. Siegfried Jerusalem, unfortunately is not.

While those preferring Tristan in a staging approximating the 1865 Hans von Bülow-conducted Munich world premiere, may not find Konwitschny´s approach to their liking, the controversy of this production is largely superficial. In essence Wagner´s libretto is followed rather closely, at any rate much closer than usual with Konwitschny.

Peter Konwitschny´s vision is rather straight-forward, but nevertheless relies on an audience willing to look beneath the surface with Isolde´s Act 1 ship a modern white cruiser, finding her and Brangaene on deck sipping cocktails beneath umbrellas.

In the second act, Tristan throws in a red sofa on a backdroup of colourful walls for the love duet. This, however, seems an imaginary room, as the action takes place in front of this tableau, surrounded in black, when King Marke arrives.

Tristan then returns to his deserted home, walls crumbling down, a naked bulb from the ceiling, looking at pictures from his childhood. Then Isolde comes. Ultimately they disappear and the opera ends with the image of King Marke and Brangäne standing in front of their coffins.

The most puzzling thing about this DVD is the labeling of the production as one with an "optimistic" ending. It simply does not make sense. I have seen this production in the house, and it is indeed one of the saddest endings to any opera I have seen, the entire Bavarian State Opera paralyzed at the end. As I see it, Tristan and Isolde´s imaginary love in the second act does not hold in reality, in true life they are just plain dead, visualized by Marke and Brangäne standing in front of their coffins. How are we supposed to believe anything else? Unfortunately..

This production indeed is one of the most powerful I have seen live. A not insignificant part of this impression relies on Waltraud Meier´s Isolde.

Act 1: On the ship

Act 2 love duet

The major strength is Waltraud Meier´s mesmerizing Isolde, here with her entire radiance, displaying her immensely varied acting skills as well as effortless throwing off the high Cs. An exceptionally powerful performance, overpowering the vocally stressed as well as dramatically uninteresting Jon Frederic West as Tristan.

Marjana Lipovsek makes a fine Brangäne as does Bernd Weikl as Kurwenal. Kurt Moll has the necessary authority as Marke, though obviously he is just an opera singer pretending to be King Marke.

The performance is well-conducted (by Zubin Mehta), though not at the level of either of Barenboim´s Tristan DVDs from Bayreuth, but nevertheless interesting and with the essential continuous flow.

Waltraud Meier: Liebestod:

The bottom line (scale of 1-5, 3=average):

Waltraud Meier: 5
Jon Frederic West: 2
Marjana Lipovsek: 4
Bernd Weikl: 4
Kurt Moll: 4

Zubin Mehta: 4
Peter Konwitschny´s production: 4-5

Overall impression: 4-5

Posted on YouTube by perskram

Daniel Barenboim Heiner Müller 1995 Bayreuth Tristan with Waltraud Meier and Siegfried Jerusalem finally on DVD: Glorious

Tristan and Isolde. Bayreuth Festival 1995. Director: Heiner Müller. Cast: Waltraud Meier (Isolde), Siegfried Jerusalem (Tristan), Matthias Hölle (King Marke), Falk Struckmann (Kurwenal), Uta Priew (Brangäne), Poul Elming (Melot). Conductor: Daniel Barenboim. Further information here.

Anyone still doubting whether Daniel Barenboim is the greatest living Wagner conductor are invited to start here.

In brief, Daniel Barenboim´s performance with the Bayreuth Festival Orchestra in this performance of Tristan and Isolde is simply overwhelming. He surpasses even the most excessive expectations, even from those who, like me, have heard his Tristan on numerous previous occations. The sheer power, the magnificently disposed lines, the passion.

I have never heard his Tristan quite as glorious as here in Bayreuth 1995. Easily the best conducted of all available Wagner operas on DVD. And the best recorded Wagner performance from Daniel Barenboim as well (including the CDs). Well worth owning for that aspect alone.

This 1993 Bayreuth Festival production of Tristan and Isolde was initially to be directed by Patrice Chéreau, whose cancellation led to the appointment of Heiner Müller, widely acknowledged as the most important German dramatist in the 20th century after Bertold Brecht. This Tristan and Isolde was his first and only operatic production as he died in 1995. The production was seen at the Bayreuth Festival from 1993-9, with the 1993 premiere featuring role debuts for both Waltraud Meier and Siegfried Jerusalem as Isolde and Tristan, respectively.

Truth be told, Heiner Müller´s staging, though beautiful and eerily aesthetic, is too passive for my taste. But admittedly, he does provide the ideal static background for the glorious orchestral sound to be cast upon, virtually unreflected.

Heiner Müllers approach to Tristan was highly intellectual and non-sentimental, explicitly aiming to rid the work of all hints of romanticism or overheated passion. But aren't Tristan and Isolde so deeply in love that they can only come together in death? he once was asked. "Nonsense, Romanticism in the worst sense. Nobody really yearns for death," said Heiner Müller.

Together with set designer Erich Wonder and costume designer Yamamoto (a Japanese fashion designer) they created a static and minimalistic production centered on geometrical shapes - cubicles and rectangles - with superimposed light effects projecting various colours and forms according to the changing moods.

The colours change from the golden-red spectre of Act 1 over the blue in Act 2 to the green-deep grey of Act 3. A closed rectangular space serves as the basic setting, being only slightly modified from Isolde´s 1st act ship space visualized as a sunken rectangle in the golden-red declining floor, to Act 2´s eerily misty blue space (graveyard?) covered with silvery breastplates, to the desolate shattered concrete spread out on the floor in the otherwise naked room of Act 3.

There is virtually no physical contact between the singers (including the love duet) who move in parallel orbits if not assuming frozen positions in artificial angles. The impression of stylized Japanese theater is hardly coincidental and emphasized by the colourful geometrical artworks projected during the preludes.

With such a tremendously brilliant orchestra there simply is no real need for scenery. But some attempts at creating drama on stage would nevertheless not have been ill-placed.

The DVD, as always at the Bayreuth Festival, was recorded in front of an empty theatre, though the audible warming-up of the orchestra alludes to a live performance, which it is not. Sound as well as picture is of very high quality and the slightly grained close-up shots are due to the use of transparent curtains to maximize the light effects.

Waltraud Meier is a truly glorious Isolde, this however not being the ideal production to showcase her immense acting skills and charisma. She seems constantly to restrain her expressions (undoubtedly at Heiner Müller´s instruction), and one wonders if she really feels at home in this production? To fully appreciate her radiance, one has to wait for the Barenboim/Patrice Chéreau production from La Scala. Vocally, however, she has never been better, and nevertheless manages to infuse some much-needed drama into the production. By a wide margin the leading Isolde on DVD.

Siegfried Jerusalem is also by a large margin the best Tristan on DVD, for once looking believable next to Waltraud Meier. If just the staging had given them more opportunity to interact dramatically.

In the supporting roles, both Uta Priew and Falk Struckmann acted and sang well (Struckmann not without a slightly irritating dryness to his voice). Matthias Hölle was actually quite fine as King Marke, not levelling with The true King Marke obviously, but nevertheless convincing. I wonder what ever happened to him, who seemed to be everywhere in the mid-90´s, as he must still be quite young?

Compared to Daniel Barenboim´s previous 1982 Bayreuth Tristan DVD in Ponnelle´s production, this performance is even better conducted. Which Tristan and Isolde DVD of these two to go for, I´d say is largely matter of taste. With the most obvious alternatives being the Lehnhoff Glyndebourne production with Nina Stemme or the Konwitschny production from Munich, also with Waltraud Meier. Until the Barenboim/Chéreau 2007 production from La Scala is released, that is.

Watch this to listen to Daniel Barenboim´s glorious conducting without being disturbed by irrelevant stage action. And to have the ideal Tristan and Isolde combination in Waltraud Meier and Siegfried Jerusalem. Strongly recommended as my personal favourite.

Waltraud Meier and Siegfried Jerusalem: "Lausch, geliebter"

The bottom line (on a scale of 1-5, 3=average):

Waltraud Meier: 5
Siegfried Jerusalem: 5
Uta Priew: 4
Falk Struckmann: 3
Matthias Hölle: 4

Heiner Müller´s production: 4
Daniel Barenboim: 5

Overall impression: 5

Berlin: Compelling Tristan with Barenboim, Meier, Storey and Salminen

Waltraud Meier as Isolde (here with Christian Franz)

Tristan and Isolde. Berlin State Opera, May 12th, 2008. Production: Harry Kupfer. Cast: Waltraud Meier (Isolde), Ian Storey (Tristan), Matti Salminen (King Marke), Michaela Schuster (Brangäne), Roman Trekel (Kurwenal), Reiner Goldberg (Melot). Conductor: Daniel Barenboim. Further information here.

The original cast for this performance was Peter Seiffert, Katarina Dalayman and Christof Fischesser. We heard Ian Storey, Waltraud Meier and (as a last-minute replacement) Matti Salminen. I have not heard anyone complain about these substitutions yet...

Much may be (and is) said of Daniel Barenboim. And whatever one may think about him or his accomplishments in other fields, or with other composers, there is general agreement that it is with Richard Wagner, that he truly excels.

While all his Wagner interpretations are genuinely top-class, Tristan and Isolde may represent the sum of his achievements: The electricity he generates from this score, in my opinion, is unmatched by any other conductor alive today.

In other repertoire, he may sometimes give the impression of going for the superficial effects. Not here. He completely masters the structure of the piece – the endless waves of the music, pushing forward relentlessly. Never loosing the big picture it was simply a thrilling performance. I suspect there to have been next to no orchestra rehearsals for this performance. Barenboim may not need it, but the brass section could have used some coordination of their entries, to put it mildly.

The advantages of the Berlin State Opera acoustics to the Bayreuth Festival House with regards to Barenboim´s interpretation of Tristan are obvious: In Bayreuth, the sound generated by the covered orchestra pit softly emerges from underneath blending uniquely with the singers, but you do not get the explosions in the orchestra possible here in Berlin.. This was a more edgy interpretation from Barenboim, compared to the Scala performances earlier this season, and he seemed to be experimenting with the woodwinds as well, leaving some of the rounded, ”Italianate” sound of the Scala performances behind. The result was completely compelling.

I believe I have stated so previously, but I have never heard better conducted live Wagner performances in my entire life than the ones Daniel Barenboim conduct at this house. Not even by Christian Thielemann, who sometimes does get close, though.

Of course, this performance was sold out. Apparently due to practical staging issues related to the company´s previous tour in Japan, this was a presumably one-time performance of the old Harry Kupfer production, as it was thought the new Herzog production would be back next season (which now doesn´t seem likely).

Waltraud Meier. I have never seen her deliver a performance that was anything less than completely compelling. Her interpretative powers, acting skills and pure presence on stage is of a magnitude that whether or not she exactly does hit all the notes precisely on pitch becomes completely irrelevant. The Narrative and Curse was probably the highlight of the entire opera. The variety in acting and word-colouring, the way she and Daniel Barenboim within micro-seconds adjust their tempi to each other was thrilling to watch.

And though irrelevant, she did in fact hit all the notes, the Cs somewhat more briefly than usual, and she was slightly sharper than usual in her high register. But the Liebestod, as always, completely on-pitch and with heart-breaking intensity. In the middle of a European recital tour, she understandably was cautious with her voice at the beginning, and only in the third act did she give the usual 100%, she would doubtless have given here from the start had she been able to plan her schedule around this performance.
As I´ve said before, in my book, she delivers the definitive interpretation of Isolde and I genuinely have no desire whatsoever to see anyone else in this part. Except for maybe Karita Mattila.

I heard Ian Storey´s Tristan earlier this season at La Scala, and his interpretation clearly benefits from this smaller house. Unfortunately (for me) there is a certain vibrato in his middle voice, that I genuinely dislike, but compared to the issues most of his Tristan-singing colleagues have, he has plenty of assets: He is an excellent actor. He convinces dramatically in the part. Furthermore, he looks quite good, and vastly better than most other Tristans around. He does have the high notes. He didn´t seem too tired i the third Act. He could go on to have a major career with this part. And those issues apart, he had superb on-stage chemistry with Waltraud Meier.

As the King Marke you would normally expect for this kind of performance is in New York, and the scheduled Marke Christoph Fischesser was ill, Matti Salminen was flown in from Zurich at the last minute. Matti Salminen´s interpretative powers as King Marke are of a magnitude, that he even after singing several bunches of completely wrong notes in the Monologue he delivered a compelling portrayal.

Michaela Schuster iwas a fine Brangäne. Not a beautiful voice, but effective and ways better than her dry and wobbly Venus last month. Though is´s still not obvious to me why she has to move on to Ortrud now (in both new Lohengrin productions in Berlin and Munich next year).

Roman Trekel as Kurwenal did not seem in very strong voice, and I wonder if these dramatical barytone parts really suit him?

And a curious thing: There was a lot of Chéreau in this production. In particular when Ian Storey covered Waltraud Meier´s eyes at the beginning of the "O sink hernieder" in Act 2. Unless, that of course was Kupfer´s orginigal intention? Also in several situations in Act 1 it seemed (fully understandably) like Ian Storey had imported Chéreau´s (excellent by the way) concept.

I don´t remember the last time I´ve seen standing ovations like this at the Berlin State Opera. Most were for Waltraud Meier, Matti Salminen and Daniel Barenboim.

If Daniel Barenboim doesn´t conduct the Tristan and Isolde next year in Berlin, one almost have to consider visiting the Metropolitan Opera to hear him there. Without Waltraud Meier though…

waltraud meier shines as fidelio in dark production

Fidelio. DVD. Palau de les Arts Reina Sofia, Valencia. 2006. Production: Pierluigi Pier´Alli. Conductor: Zubin Mehta. Cast: Waltraud Meier (Leonore), Peter Seiffert (Florestan), Matti Salminen (Rocco), Ildiko Raimondi (Marzelline), Juha Uusitalo (Pizzarro), Rainer Trost (Jaquino), Carsten Stabell (Don Fernando).

A largely traditional dark, greenish production with no obvious raison d´être as I see it, if not for the possibility to see Waltraud Meier in top voice in one of her best-loved roles. To be honest I have never found Leonore-Fidelio an obvious fit for Waltraud Meier´s voice. Nowadays, very much an on-or-off artist, I heard her live in the part about five yearsago on an off night, which was no pleasure, believe me. This DVD was recorded around the same time, and here, luckily she is in top shape with an effortless “Abscheulicher” and an overall very moving character portrayal.

Peter Seiffert sings his one aria reasonably well, both Matti Salminen and Juha Uusitalo are in fine voice as Rocco and Pizzarro respectively and I have nothing to reproach the other performers.

However, the personenregie seems altmodisch and the production is very, very dark. While I realize that it most likely was equally dark in the prison in which the opera takes place, it nevertheless does not make for exciting theater.

Zubin Metha represents old-school Beethoven and without being extraordinary, the orchestra nevertheless is almost as dense as the staging.

Nevertheless, a DVD mostly for fans of Waltraud Meier.

Waltraud Meier: "Abscheulicher".

The bottom line (scale of 1-5, 3=average):

Peter Seiffert: 3

Waltraud Meier: 4-5

Matti Salminen: 4

Ildiko Raimondi: 4

Juha Uusitalo: 4

Pier´Alli´s production: 2-3

Zubin Mehta: 4

Ortrud on DVD: Waltraud Meier in Lehnhoff´s Baden-Baden production (also featuring Klaus Florian Vogt as Lohengrin)

Lohengrin. Baden-Baden Festival 2006. Director: Nikolaus Lehnhoff. Cast: Klaus Florian Vogt (Lohengrin), Solveig Kringelborn (Elsa), Waltraud Meier (Ortrud), Tom Fox (Telramund), Hans Peter König (Heinrich). Conductor: Kent Nagano with the Deutsches Symphonie-Orchester Berlin. Further details here.

Nikolaus Lehnhoff seems not to have forgotten his old boss and mentor Wieland Wagner as there is a certain New Bayreuth timelessness as well as an air of ancient Greek tragedy to this Lohengrin recorded live in Baden-Baden in 2006, also seen at La Scala last season.

Lehnhoff sees Lohengrin as a psychological drama centered around Elsa, who is virtually present on stage during the entire opera. This is a drama of contrasts: Good vs. evil, white vs. black, hate vs. love, white spots on the good guys, dark on the bad guys etc. It takes place in a non-specified modern time period. The main stage elements are a concrete circular Greek amphitheatre (Act 1 and 3) and a flight of Freudian steps going nowhere (Act 2).

Lohengrin stands out from the rest: He wears a silver suit. He appears through a vertical door of light. He plays on an inverted piano in Act 3, which disturbed Kent Nagano so much during the rehearsals that he asked Lehnhoff to exchange it with an ordinary piano (which he refused). This Lohengrin is clearly more interesting in his art (and ultimately in himself?) than in pursuing a relationhip with Elsa, a directory approach excellently suited to Klaus Florian Vogt´s strenghts as a performer. Everything ends in chaos when Elsa lies dead on the floor at the end of the opera.

There are virtually no weak elements in a cast chosen as much for dramatic as vocal abilities.

Solveig Kringelborn interprets Elsa (unless she simply plays herself) as a slightly naive/irritating woman. Vocally her upper-register vibrato may not be to my taste, but otherwise she is actually rather good.

Ortrud is one of my favourite characters in any opera, and I still regret never having seen the Harry Kupfer Lohengrin production at the Berlin State Opera in which Ortrud and Telramund allegedly were the good guys and Elsa indeed did kill her brother. As a new Lohengrin will be staged next season in Berlin, it seems a production of the past.

Waltraud Meier´s mesmerizing Ortrud, finally available on DVD, is vastly better than any of the competition on (or off) DVD and whatever one may think of Lehnhoff´s staging, this DVD is well worth owning for her Ortrud alone. Furthermore, Waltraud Meier is in superb vocal shape. In fact, I have never heard her less sharp in her high register than here, cutting through the orchestra like a razor-blade. And she has never looked better on stage than here in Act 2. Indeed, the Ortrud-Telramund scene from this production may be one of the very best opera scenes to ever be released on DVD (video clip below).

Telramund, basically a whimp, is a thankless part, but Tom Fox manages to infuse some dignity into him, vocally as well. Hans Peter König furthermore is excellent as the good-natured King Heinrich.

Finally, Klaus Florian Vogt is a curiously fascinating as well as vocally superb Lohengrin - his voice is powerful and clear with an effortless top virtually unheard of today. Furthermore he sings with plenty of nuance and dignity. He looks fine on stage as well. But a romantic hero he is simply not, with a strangely inexpressive face and an air more remniscent of a psychopathic serial killer than a swan knight. Either Klaus Florian Vogt, Lohengrin or both are in love with themselves (to be fair: Klaus Florian Vogt seemed a very pleasant guy in the bonus documentary)...

Kent Nagano is inspired throughout, keeping a relatively brisk tempo with plenty of energy.

A 60-minute bonus documentary is included, of which one may conclude that while watching Lehnhoff´s staging is both illuminating and entertaining, watching him talk about it is equally irritating. Furthermore a not negligible part of the documentary is spent inside Klaus Florian Vogt´s van, parked directly outside the Baden-Baden Festival House, and serving as his home away from home...

Which is the Lohengrin DVD to own? This one, in my opinion. For a traditional production, Claudio Abbado´s Vienna production (with Plácido Domingo and Cheryl Studer) is wonderfully conducted and sung (Ortrud apart), but gives the impression of being trapped in the dark medieval ages with no escape.

For an entirely deconstructive take on Lohengrin, Peter Konwitschny´s Barcelona production may be worth a look.

For various reasons, mainly related to casting issues, I cannot honestly recommend either the early Bayreuth or the Metropolitan Lohengrin DVD productions.

Waltraud Meier and Tom Fox, Act 2. This scene alone is worth twice the price of the entire DVD:

Waltraud Meier and Solveig Kringelborn - Church scene confrontation Act 2:

The bottom line (scale of 1-5, 3=average):

Klaus Florian Vogt: 4
Solveig Kringelborn: 4
Waltraud Meier: 5
Tom Fox: 4
Hans Peter König: 4-5

Kent Nagano: 4

Lehnhoff´s staging: 4

General impression: 4 (downgraded after some thought - see the comments)

Die Walkure dream team in Barcelona: Domingo, Meier and Pape in marvellous Act 1 performance

Waltraud Meier (center) with Evelyn Herlitzius, Alan Held, Jane Henschel, René Pape and the Valkyries. At this point Plácido Domingo is still having dinner....

Die Walküre. Concert performance. Teatro Liceu, Barcelona. May 31th 2008.

Cast: Plàcido Domingo (Siegmund), Waltraud Meier (Sieglinde), Renè Pape (Hunding), Alan Held (Wotan), Evelyn Herlitzius (Brünnhilde), Jane Henschel (Fricka). Cond: Sebastian Weigle. Further information here.

Scheduled as a concert performance, this was in fact a semi-staged performance: Three (or more) chairs placed on the stage in front of a brown screen. With the orchestra in the pit and the singers moving and acting as in a fully staged performance, the difference between this and a "modern" stage production may have been very small indeed..

The beautifully restored Liceu Opera House, of course was packed. The atmosphere was electric. None of the protagonists had cancelled. The performance was marvellous. The drinks were cheap. The auditorium was fantastic, being perhaps the most beautiful traditional opera house I have been in. What more can you ask for, except cheaper tickets?

Well, mainly a better conducted performance. Sebastian Weigle was actually booed by some at the end of the evening, and while I strongly disagree with this type of behaviour, I appreciate the underlying point: He was not good. This was in fact one of the most boringly conducted Wagner performances, I´ve heard in a theatre of this level. And a pity, really, since the quality of the orchestra seems to be rather high. And especially since his sleepwalking Wagner reading prevented the first act to be truly electric, despite fabulous performances from the singers. He was equally boring last year in the Bayreuth Meistersinger, which I then attributed to his unfamiliarity with the special covered pit...

This was in theory a complete performance of Die Walküre, but in reality the performance was built upon a dream-team Act 1, as I don't expect anyone payed the steep 150+ Euro ticket prices (my only real complaint about this performance apart from the conductor) to see Alan Held (who was in fact a very fine Wotan) or Evelyn Herlitzius´ lively Brünnhilde, once again demonstrating that huge sounds may be produced by slim singers. Otherwise Jane Henschel was a fine Fricka.

Now, to the point: Why does Plàcido Domingo keep singing Siegmund at 67+ years? The simple answer: I suppose, because nobody does it as well as he does...
If singing Siegmund was a competition on generating the loudest sound or displaying the freshest voice, he would perhaps be pressed by some his younger colleagues. But then there is the characterization, the vocal drama, the intensity. In fact, the only one beating Plàcido Domingo's Siegmund today, is his own Siegmund 15 years ago..
In this respect, it is incomprehensible that we do not have his Siegmund (preferably with Waltraud Meier's Sieglinde) on disc or DVD from his prime, but hopefully this will change..

I have now heard Plàcido Domingo as Siegmund four times within the last year, and he seemed in equally fine shape here in Barcelona as he was in London last autumn, with a Wälse cry (almost) effortlessly filling the auditorium and a thrilling dramatic intensity including superb chemistry with Waltraud Meier.

And again, no: Domingo's German diction is not bad. He has, in fact, excellent diction of a heavily accented German, of which I understood anything. How many times have I not heard native German tenors sing Siegmund and not being able to understand a word? Countless. Next to Renè Pape, who probably has the most perfect German diction seen on stage today, German speakers (as myself) probably cannot help occasionally noticing his somewhat strange German. But more as a curiosity than anything flawing his performance, in my opinion.

Should he stop singing the part, just because he was better 15 years ago? I don`t think so. If several significantly better singers were around, then maybe...

Plácido Domingo curiously only turned up at the second Third Act curtain call (thus missing the first), which I´ve been told was due to him having dinner outside the Theatre during Act 3 and simply not hearing the cell phone call for him to return!

Nevertheless, Plàcido Domingo was not the best singer of the evening. That was Renè Pape.

You don't need a beautiful voice to sing Hunding - most basses just yell their way (and quite effectively) through it. But it does help and it's refreshing for once, to hear all the words sung in full noble Wotan-type voice with complete command of the stage. But completely, 100% mean, he just cannot be with that beautiful voice...And, while he has the low notes well within his grasp, they are clearly outside his comfort zone. Which is just fine, since Renè Pape has really moved on from this part, and with his upcoming Wotan (about time!), I suspect his Metropolitan Opera performances of Hunding next season will be among his last ones, for the foreseeable future.

Had Richard Wagner been alive today, one of the singers that would have made him really happy (he would probably have tried to have an affair with her as well!) would have been the superb Waltraud Meier. In superb voice, completely unstrained, Sieglinde remains one of her most moving portraits. She has everything this part asks for: The vulnerability, the passion, the slight madness, the capability of going over the edge..And as always with Waltraud Meier, I know perfectly well what her vocal flaws are, I just don´t care about them..

And finally, to the really important issues:

Plàcido Domingo looked fine. Renè Pape looked great. Waltraud Meier looked..well, as much as I hate to say it: Disappointingly plain. She was wearing the same type flowery dress, as last year in the same team's Munich Walkure, and it just makes her look unsophisticated, which is the last thing she is, being one of the most beautiful and sophisticated women on stage today. Hopefully, she'll take the opportunity to change it before this summer's Walküre performances with Daniel Barenboim and the West-Eastern Divan Orchestra...

Other reviews in Spanish/Catalán from Barcelona-based bloggers GTL torn T and In fernem Land.

Tristan in Munich: Breathtaking

Tristan and Isolde. Bavarian State Opera, November 11th 2007. Production: Peter Konwitschny. Cast: Waltraud Meier (Isolde), John Treleaven (Tristan), René Pape (Marke), Michael Volle (Kurwenal), Daniela Sindram (Brangäne). Conductor: Kent Nagano.

In brief, this Konwitschny staging of Tristan and Isolde at the Bavarian State Opera was one of the most overwhelming and moving operatic experiences in memory.

To start with Waltraud Meier and René Pape , whom words simply do not do justice in the parts, which they have truly redefined.

Waltraud Meier´s identification with Isolde is almost legendary. Today she furthermore was vocally on top, effortlessly throwing out the high C´s as well as presenting her entirely compelling Isolde, detailed beyond description. As the only truly compelling female stage presence in the Wagner repertoire on stage today, I am only happy that it would seem she may perform this part for quite some time yet. She was deservedly greeted with standing ovations.

What Waltraud Meier did with Kundry in the 1090´s, René Pape has done with King Marke over the past 10 years: Entirely redefined the part and moving it onto center-stage in a very dignified portrait of the not-so-old-King who, for once, is not a whimp. Needless to say, he can also sing all the notes. A King Marke at this level, I don´t expect to see from anyone else in my lifetime.

Even John Treleaven (contrary to my expectations based on his dismal Siegfried in London 10 days ago) managed to get reasonably through the Tristan. While he did not approach the level of the others, he was more than passable. And in very fine voice too. I suppose the lower range of singing for Tristan suits his voice better than Siegfried, and who would not be inspired to act his best next to Waltraud Meier?

Michael Volle was just excellent as Kurwenal, both in voice and in acting (he still had that aged rock star look from the Eugene Onegin of the day before). Daniela Sindram was a fine Brangäne, although a bit characterless, but that seems to suit the character well.

Lastly Kent Nagano, whom I usually find too constrained and passive in Wagner was excellent. The orchestral flow moved continuously throughout, with all the dynamic tempo shifts his Onegin lacked. And light years better than his Parsifal earlier this year. Deservedly ovations to him as well.

Not to forget Konwitschny´s immensely moving staging. It is released on DVD with Waltraud Meier, which doesn´t entirely do it justice. In the theater you are completely blown away:

The first act takes place on a ship within a quadrangular section of the stage. Isolde and Brangäne are sipping cocktails and a geometrically shaped fish is seen in the background. You almost sense, that this is not real. The same applies to the act two lovers placed on a yellow sofa in front of red trees. The black steps seen on the photo below are present throughout the opera and this is where Tristan and Isolde descend (to death) and change into all-black outfits when discovered by Melot. In the third act, Tristan is alone in a stark concrete room lit by a single light bulb (the reality?), while images (from his youth?) are projected on a screen. When Isolde arrives, they both descend in front of the set, where the liebestod is sung. The opera ends with a backdrop of Marke and Brangäne in front of two white coffins. Immensely moving.

One of the finest stagings of any opera I have been so privileged to see.

Photographs from the company website

Wozzeck DVD: Chéreau with Barenboim and Waltraud Meier from Berlin

Wozzeck. Berlin State Opera 1994. Production: Patrice Chéreau. Cast: Waltraud Meier (Marie), Franz Grundheber (Wozzeck), Graham Clark (The Captain), Günter von Kannen (The Doctor). Conductor: Daniel Barenboim. Further information here.

A co-production with Theatre du Châtelet (Paris) and intitially Lyric Opera Chicago (eventually backing out due to monetary concerns), this Wozzeck was recorded live April 1994 at the Berlin State Opera.

The sets by Patrice Chéreau´s long-time collaborator Richard Peduzzi are more colourful as well as more rigid than otherwise seen from his hand (From the house of the dead, La Scala Tristan, Bayreuth 1976 Centenary Ring). The stage is basically black and empty with tastefully coloured geometrically shapes imitating houses/imaginary spaces sliding back and forth. The light effects are simply stunning, varying from spotlights following the individual singers to contrasting colours highlighting certain portions of the stage. The timeless beauty of the staging is immense.

The historical, political and criminological contexts of Wozzeck clearly do not interest Patrice Chéreau. Wozzeck is a human drama. Some comments from Chéreau in the accompanying booklet would have been most appreciated.

Chéreau´s trademark is the detailed analysis of the text and the engaging direction of the singers. In this respect the cast was ideal. Mezzo cum soprano Waltraud Meier is a powerfull sung as well as very humanly acted Marie. A normal woman, searching for happiness, who turns to the tambourmajor in desperation over Wozzeck. Guilt, desperation as well as love for her son are key words. Franz Grundheber´s Wozzeck is the victim. The Captain and the Doctor are the crazy ones, excellently performed by Graham Clark and Gunther von Kannen reliving their previous Mime-Alberich squabbles from previous Bayreuth Festival seasons.

The young Roman Trekel and Endrik Wottrich may be seen in smaller parts as well.

Finally, Daniel Barenboim´s reading was engaged as well as pointedly effectful.

Another fine modern version on DVD is Calixto Bieito´s production from Barcelona, while those opting for a more traditional staging may prefer the Claudio Abbado conducted Dresen Vienna production. Peter Mussbach´s Frankfurt production is visually impressive, but musically not on the same level as the above mentioned.

Marie´s death - Waltraud Meier and Franz Grundheber:

The bottom line:

Waltraud Meier: 4
Franz Grundheber: 4
Daniel Barenboim: 4

Patrice Chéreau´s production: 5

Overall impression: 4

Parsifal on DVD: Lehnhoff´s end-game in a post-atomic wasteland

Parsifal. Baden-Baden 2004. Production: Lehnhoff. Cast: Waltraud Meier (Kundry), Christopher Ventris (Parsifal), Matti Salminen (Gurnemanz), Tom Fox (Klingsor), Thomas Hampson (Amfortas). Conductor: Kent Nagano. Further information here.

Recorded live at the Baden-Baden Festival House in August 2004, this Nikolaus Lehnhoff production has also been seen at the English National Opera, Liceu Barcelona, San Francisco Opera and Lyric Opera, Chicago.

Director Nikolaus Lehnhoff, a former assistant to Wieland Wagner, presents a both fascinating and original interpretation of Parsifal: We are in a post-apocalyptic world. Living within bare concrete walls, pierced at one point by a meteorite, the "Knights of the Holy Grail" symbolizes a closed (religious?) community - originally perhaps intending to do good, but now rotten to the core. They do not venture into the sun outside, where creatures like Kundry (a feathered bird) and Parsifal (sun-burned in ragged clothes) come from. In fact, the outside sun here serves as symbol of the Holy Grail.

Personally, I imagine these Grail Knights to represent a closed community surviving in a post-atomic wasteland, where venturing outside equals dangerous exposure to the sun due to the diminished size of the ozone layer. In this context, it makes sense that the shell-clad Titurel (old enough to have been outside) appears from beneath the ground to implore the small community of survivors to reveal the Sun. Many interpretations are possible, I suppose.
Where exactly Klingsor fits into this picture, I am not sure: He appears within the bone structure of a human pelvis, indicating a metaphysical as opposed to real presence. Subsequently the Kundry-bird gradually sheds a giant shell to seduce Parsifal, who in the end has a real fight with Klingsor involving a real wooden spear. In Act 3 we are back in the concrete wasteland, the Grail Knight Community is dying from within, the members wearing white and grey bandages. After curing Amfortas in the end, Parsifal chooses to leave this sickening community (by a railroad appearing on stage) led by Kundry and followed by some of the knights, while the remainder of Knights gather around Gurnemanz, the apparent new leader.

Nikolaus Lehnhoff writes in the program notes: "After the mass destruction the last survivors, and thus the last humans, slowly begin to communicate across the ruins. Just like Parsifal and Kundry, they try to find, feel and share love and compassion once again".

A very strong cast was assembled for these performances: Waltraud Meier remains an astonishing Kundry, having brought this role to an entirely new level during the last 25 years as documented on several CD- and DVD-recordings. Matti Salminen is a commanding presence as well as vocally secure as Gurnemanz. Christopher Ventris, a both physically and vocally convincing Parsifal, is matched by Tom Fox´ fine Klingsor. Thomas Hampson may seem a bit underpowered as Amfortas, who is portrayed as weaker than often seen, but at repeated viewings, his portrait has grown on me and I find it quite fitting to portrait a leader of a sickening cult.

Kent Nagano draws a fine and lucid performance from the Deutsches Symphonie-Orchester, which also continue to gain weight after repeated listening.

A relatively tedious 30 minute documentary accompanies the DVD explaining the storyline with clips from the production. For those unfamiliar with the opera, it may be worthwhile, though.

In summary, an innovative Parsifal staging of high musical quality. For the moment, probably my favourite choice among commercially available Parsifal recordings on DVD, although those inclined towards more traditional stagings may opt for the 1982 Wolfgang Wagner Bayreuth production or the Levine-conducted, though dusty Metropolitan production (also with Waltraud Meier), both of fine musical quality.

But the search for the optimal Parsifal DVD is still not over. I continue to hope for a Barenboim release.

Waltraud Meier and Christopher Ventris in Act II:

The bottom lines (scale of 1-5, 3=average):

Waltraud Meier: 5
Christopher Ventris: 4
Matti Salminen: 4-5
Tom Fox: 4
Thomas Hampson: 3

Lehnhoff´s staging: 4

Kent Nagano: 4

Overall impression: 4