Kurt Moll

“Kleiber directs a compellingly impulsive reading, crowned by the glorious Isolde of Margaret Price, the most purely beautiful of any complete interpretation on record” Penguin Guide, 2010 **/*

“If I could hear only one opera for the rest of my life, it would have to be Die Meistersinger; and so if I were sent to Siberia with only one record album, it would be the album here reviewed. Hearing it has been a joy, a profound and moving experience” Gramophone Magazine

“Karajan is at his most winning, drawing sound of magnificent warmth from the Dresden Staatskapelle and coaxing superlative results from his cast. The youthful innocence of Donath's Eva is very touching and Ridderbusch's Pogner is most eloquently sung...the recorded sound [is] outstanding in terms of clarity, realism and a warmth that matches this enormously affectionate performance.” International Record Review, January 2011

“For some, the finest Meistersinger recorded; for others, too self-consciously 'chamber' in style. There's enough punch in the big moments, though.” BBC Music Magazine, May 2011 *****

“Bailey's ... is the most rounded portrayal to date ... the set as a whole is a considerable achievement, a worthy addition to the Decca/Solti Wagner discograohy.” Gramophone Magazine, September 1976

“The great glory of Solti's first [1975] set of Die Meistersinger is not the searing brilliance of the conductor, but rather the mature and involving portrayal of Sachs by Norman Bailey. For his superb singing the set is well worth investigating. But there is much else to enjoy, not least the bright and detailed sound” Penguin Guide, 2010 **/*

“Communion, musical and spiritual, is what this intensely beautiful Karajan set provides. The playing of the Berlin Orchestra is consistently beautiful, near to the atmospheric ideal. A superb achievement.” Penguin Guide

“...in its glowing beauty, Karajan's Parsifal comes closest to the ideal of Schopenhauerian or Buddhist renunciation of will that the opera itself may strive towards.” Gramophone Magazine, May 2010

“In most respects this is the most perfect, atmospheric Parsifal yet committed to disc or cassette. Admitting the vocal imperfections, few as they are, the set attempts an artistic, or at least technical superiority which it fairly achieves.” Gramophone Magazine, 1981

“Karajan's Parsifal seems to grow in stature as an interpretation on each rehearing; on its CD transfer it appears to have acquired a new depth, in terms of sound, because of the greater range of the recording and the greater presence of both singers and orchestra. As in practically all cases, CD offers a more immediate experience. Karajan's reading, a trifle stodgy in Act 1, grows in intensity and feeling with the work itself, reaching an almost terrifying force in the Prelude to Act 3 which is sustained to the end of the opera. Moll's Gurnemanz is a deeply expressive, softly moulded performance of notable beauty. Vejzovic, carefully nurtured by Karajan, gives the performance of her life as Kundry. Hofmann's tone isn't at all times as steady as a Parsifal's should be, but he depicts the character's anguish and eventual serenity in his sincere, inward interpretation. Van Dam is a trifle too placid as Amfortas, but his singing exhibits admirable power and fine steadiness. Nimsgern is the epitome of malice as Klingsor. The choral singing doesn't have quite the confidence of the superb orchestral playing, which has both qualities of Keats's imagining of beauty and truth in abundance.” Gramophone Classical Music Guide, 2010