Vienna.(International - an unconventional mounting of Parsifal provokes criticism)(Opera Review)

The Vienna State Opera's disastrous 2003 production of Tristan und Isolde (directed by Gunter Kramer) seemed to represent the nadir of Wagner reinterpretations. But Christine Mielitz's Parsifal (seen April 11) has spawned even greater audience scorn and disgust.

There were marvels to be heard, in his first major stage assignment in Vienna--he has previously sung Don Fernando in the 2003 Salzburg Easter Festival Fidelio--lieder-singer Thomas Quasthoff proved that his powers of communication penetrate even deeper in a sustained role. He offered a riveting Amfortas, singing with his customary elegance, perfectly conveying the wounded knight's anguish. A few of the highest sustained notes lacked power, but not enough to diminish a triumphant debut.

There are mezzo Kundrys who scream the sustained high Bs in Act II, and there are soprano Kundrys who gulp and gurgle the low notes more than two octaves down. Then there is Angela Denoke. Denoke can do it all, effortlessly, hauntingly, memorably, and with physical abandon. (For part of Act II, she rolled around the stage, covering a lot of territory with one breast exposed and wearing one high heel.)

Dependable tenor Johan Botha went at the title role with his usual one-dimensional gung-ho approach; while he was never taxed, his sound is tight and nasal and ultimately unpleasant. Botha's Act III armor, designed by Stefan Mayer gave the tenor the appearance ...