I really must put in my vote for the 1964 Parsifal on Golden Melordam.
This performance speaks to me so much more than the others, probably
because all those concerned knew that Kna would not be back to Bayreuth
the following summer.  Everything was on, there is a glow about this
performance that comes through the less-than-ideal sound which is, for
me, quite moving.  Interpretation is not to be found here -- the work
just seems to come into being.  Kna is, surprisingly, a little faster
here than on other Bayreuth Parsifals but it is hardly noticeable unless
you are a Kna and/or Parsifal fanatic as I am.  (I listen to Parsifal
eight to ten times a year which is, when you consider all the music in
my humble library, quite a lot of time devoted to any one work of such
length).

The 1951 is mono and Kna's conducting is perhaps not quite as free-flowing
as it was to be in the Bayreuth pit by 1964, or even 1962 for that matter.
I will say that there are three performances that really must be heard
- Ludwig Weber's Gurnemanz, Martha Moedl's Kundry and Hermann Uhde's
Klingsor.  All three should not be missed.

The sound on the 1962 performance is superior and the orchestra plays
better than they did in 1951.  I will say that the sound on the 1951
is nothing to be dismissed out-of-hand merely because it is mono. It
is clear, focused and detailed and on a good audio system, you can hear
Kna's little remark or two to the players.  On the 1962, Hans Hotter is
a superb musician but his sound bothers some (not I) and here he seems
almost holier than Parsifal himself - Weber is more human and multi-faceted
for my money.  Gustav Neidlinger is certainly evil-sounding enough as
Klingsor but Uhde's thoughtful portrayal is quite in a class by itself.

So which one to own when owning only one?  I suppose I would have to say
the 1962 Phillips recording.  Though with the 1951 coming out on Naxos
at I assume a budget price, your wife couldn't object too strongly to
this little indulgence.  Just tell her that when she hears the music
playing, she will at least know where you are.

Ray Osnato