I mean no disrespect in saying that, for me, Good Friday is made better by Wagner’s “Parsifal.” I try to listen to it every year, whether I need it or not.

Here’s my annual posting of Leopold Stokowski’s transcendent Houston recording of the “Good Friday Spell” from Act III.

Also, a fascinating 1927 recording of the Transformation Music and Grail Scene from Act I, set down at the Bayreuth Festspielhaus. The recording employs the original bells designed by Wagner, which were later melted down by the Nazis for ammunition during World War II. A rare opportunity to experience “Parsifal” as Wagner actually knew it. (The bells begin at 5:57.)

The conductor, Karl Muck, was associated with the Bayreuth Festival since 1892. He became its principal conductor in 1903. Between 1901 and 1930, he conducted “Parsifal” at Bayreuth 14 times.

Another conductor who was a pillar at Bayreuth was Hans Knappertsbusch. Of Kna’s 95 appearances there, 55 were conducting “Parsifal,” for which he was especially renowned.

I was going to post a link to one of his performances of the Prelude to Act I , but then I couldn’t help it. Here’s the whole blessed thing – all four hours of it – from 1962. The live recording is regarded as the benchmark by many, rivaled only by Kna’s performances from the 1950s.

Sacrifice, compassion, healing, and rebirth. Every Friday is good, but Good Friday with “Parsifal” is subime.

The metal canisters used to produce Bayreuth bell sounds from the 1880s to about 1929:

https://www.monsalvat.no/parsifal-bells.htm

IMAGE: Set design by Paul von Joukowsky for the 1882 Bayreuth debut of “Parsifal”