Fifty shades of Grail
The Met’s magnificent revival which opened on Monday night with a superb cast under the mesmerizing leadership of Yannick Nézet-Séguin nearly converted me into a devoted Parsifal disciple.
50 pieces since 2006 — in 17 roles, at 8 companies, most often at Metropolitan Opera.
6 pieces as Gurnemanz — stats above show all coverage for René Pape.
View allThe Met’s magnificent revival which opened on Monday night with a superb cast under the mesmerizing leadership of Yannick Nézet-Séguin nearly converted me into a devoted Parsifal disciple.
Contemporary stagings of Parsifal tend to be spare, abstract affairs scrubbed of religious associations, knights in armor and, sometimes, a grail.
One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience.
I am grateful to Sony for this new release of the Metropolitan Opera’s latest production of Parsifal and I hope I’m not the only one who discovers what a rich experience this opera can be because of it.
The experience of watching Wagner’s final opera Parsifal is frequently elevated to a spiritual occurrence, and productions have historically emphasized the religious dimension of the opera’s core themes of redemption and the dangers of temptation.
As with all good myths, certainly all the myths at the heart of Wagner’s operas, the juggling of symbols and archetypes and themes in Parsifal opens the piece to a great variety of interpretations.
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