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Wagner: Parsifal
Wagner coined a blockbuster word to describe Parsifal's genre--Bühnenweihfestspiel, or a "festival play to consecrate the stage." In this, his last work, Wagner returns to the Christian mythology that occupied his imagination earlier in Tannhäuser and Lohengrin. But Parsifal is fundamentally different from the earlier more simplistic, heroic works. Parsifal tries to put the church into the theater, instead of simply giving church themes a theatrical dressing. Parsifal is probably the least accessible Wagnerian opus--the dreamy 19th-century view of Christian mysticism being especially hard for a 20th-century intellect to come to terms with. But those who invest in the effort of understanding the score will be rewarded with a sense of the mystic communion. Though Kollo is sometimes overwrought as the Grail Knight, Fischer-Dieskau is an extremely pitiable and sympathetic Amfortas, and a generally excellent cast carries the day with Frick as Gurnemanz being the highlight. Solti conducts the Wiener Philaharmoniker (Vienna Philharmonic) with mystic solemnity. --Christian C. Rix