Parsifal profile picture

Parsifal

Part of the Wagner Operas project

About Me

Wagner Operas Main Page

Synopsis

From: http://home.c2i.net/monsalvat/inxcommon.htm

Act 1

Prelude featured on this page
Gurnemanz, Knight of the Grail, rises from sleep and rouses his two young esquires in a forest near the castle of Monsalvat in the Spanish Pyrenees. Two other knights arrive to prepare a morning bath for the King, Amfortas, who has an apparently incurable wound. They are interrupted by the wild woman Kundry, who has brought balsam from Arabia to alleviate the King's suffering. The King, carried in on a litter, recalls the prophecy that told him to await a pure fool made wise by compassion.
"Enough - my thanks", see video
He accepts Kundry's gift and proceeds to the lake. Gurnemanz tells his companions how a beautiful woman betrayed Amfortas into the hands of the magician Klingsor, so that the sacred Spear was lost and with it the King wounded.
Suddenly there are cries from the lake and a swan falls to the ground, fatally injured by an arrow. The knights drag in a youth who, rebuked by Gurnemanz, breaks his bow but cannot give his name. Kundry is able to do so: the youth is Parsifal, son of Gamuret and Herzeleide. As Kundry crawls away to sleep in the undergrowth, the knights carry Amfortas back from the lake. Gurnemanz follows them with the boy, wondering what to make of him.
Transfiguration music, featured on this page
In the hall of the Grail Castle, Amfortas is surrounded by his knights who prepare for the Grail ritual. The voice of his father Titurel is heard from the crypt, bidding Amfortas uncover the Grail and perform the magic that sustains the aged hero. Amfortas at first refuses, as the ritual brings on his pain. At length he submits and allows the esquires to uncover the chalice, which produces food and drink to sustain the knights. Parsifal watches but seems to understand nothing; although at one point when Amfortas cries out in pain, he lays his hand on his heart. At the end of the ceremony, Gurnemanz angrily drives the boy away. As he is about to leave, the knight hears a mysterious voice repeat the words of the prophecy.

Act 2

Seated in his dark tower, Klingsor summons Kundry and instructs her to seduce Parsifal, whom he has seen approaching in his magic mirror. Kundry resists in vain, since the magician knows how to control her through the curse. She disappears and the scene changes to a magic garden, in which the Flower Maidens bloom. They attempt to seduce Parsifal, who plays with them, until the appearance of Kundry, transformed into a beautiful siren.
"You sought us?", featured on this page
She awakens his memories of childhood and of his mother. His resistance apparently broken, she offers him a passionate kiss.
To her amazement, the youth recoils in horror. At last he understands the nature both of Amfortas' suffering and his own mission. Kundry tries to win him through pity for her, accursed since she laughed at the suffering of Christ. In desperation she calls for help from Klingsor, who appears on the rampart and hurls the spear at Parsifal.
The spear stops in the air, suspended over Parsifal's head. He grasps it and makes the sign of the cross, at which Klingsor's tower crumbles and the garden withers. You will know where to find me again, he tells Kundry as he walks away.

Act 3

Gurnemanz, now an aged hermit, once again finds the sleeping Kundry, still and apparently lifeless, in the undergrowth near his hut. As he revives her, a strange knight, in full armour and carrying a spear, approaches. Gurnemanz reproaches him for bearing arms on this most holy of days, Good Friday. Then he recognises the sacred spear and the knight as the boy who had once killed a swan. Parsifal describes his long and weary wanderings in search of Monsalvat. The hermit reveals that the Community of the Grail has long been in decay, since Amfortas refuses to uncover the chalice, and Titurel has died. Parsifal laments that he had arrived too late to save him.
Gurnemanz and Kundry help him to remove his armour. Today shall Parsifal bring healing to the Grail King and take over his office and duties. Gurnemanz first baptizes Parsifal with holy water and then anoints him as King while Kundry washes his feet. In return, as his first duty (Mein erstes Amt), Parsifal baptises her and kisses her on her forehead. She weeps. Parsifal gazes upon the beauty of the spring meadows. The hermit tells him that this is the magic of Good Friday, when all creation gives thanks.
Good Friday Music, featured on this page
The tolling of distant bells summon them to the funeral rites of Titurel.
"Noon - permit your servant to guide you", see video
In the hall of the Grail Castle, all is gloom and despair. The knights, long deprived of the divine nourishment, are barely alive and approach Amfortas threateningly. Amfortas begs them end his suffering by taking his life. Parsifal, followed by Kundry and Gurnemanz, strides into the centre of the hall and touches Amfortas' wound with the sacred spear, declaring him healed and relieved of his duties. He returns the spear, which begins to bleed. Parsifal orders that the Grail shall be uncovered and raises it aloft as the knights, including Amfortas, kneel in homage. Kundry falls dead at his feet.
Finale, see video

My Interests

Music:

Member Since: 3/28/2007
Band Members:
Cast:

Characters

Parsifal (Tenor)

Kundry (Mezzo-Soprano or Soprano)

Gurnemanz, a veteran Knight of the Grail (Bass)

Amfortas, ruler of the Grail kingdom (Baritone)

Klingsor, a magician (Bass)

Titurel, Amfortas' father (Bass)

Two Grail Knights (Tenor, Bass)

Four Squires (Sopranos, Tenors)

Six Flowermaidens (3 Sopranos, 3 Contraltos or 6 sopranos)

Voice from Above (Contralto)

Knights of the Grail, boys, flowermaidens

Influences:

Influences and Criticism

From Wikipedia, the free encyclopedia

As Wagner's last opera, Parsifal has been both influential and controversial. The use of Christian symbols in Parsifal (the Grail, the Spear, references to the Redeemer) have sometimes led to it being regarded almost as a religious rite. Friedrich Nietzsche, who was originally one of Wagner's champions, clearly hated the idea of it as a pseudo-Christian ritual, although he admitted that the music was sublime: "Has Wagner ever written anything better?" (Letter to Peter Gast, 1887). Claude Debussy, who was in later years very critical of Wagner and his influence, called it "one of the loveliest monuments of sound ever raised to the serene glory of music". Gustav Mahler, who attended the premiere, stated afterwards: "When I came out of the Festspielhaus, unable to speak a word, I knew that I had experienced supreme greatness and supreme suffering, and that this experience, hallowed and unsullied, would stay with me for the rest of my life". Parsifal was a major source of inspiration for T. S. Eliot's poem "The Waste Land", and also adapted for the screen (in a highly controversial fashion) by director Hans-Jürgen Syberberg.

Some writers see in the opera the promotion of racism and anti-semitism suggesting that Parsifal was written in support of the ideas of Arthur de Gobineau who advocated Aryanism. Parsifal is proposed as the "pure-blooded" (ie Aryan) hero who overcomes Klingsor, who is perceived as a Jewish stereotype, particularly since he opposes the quasi-Christian Knights of the Grail. Such claims remain heavily debated, since there is nothing explicit in the libretto to support them, and Cosima Wagner's diaries, which relate in great detail Wagner's thoughts over the last 14 years of his life (including the period covering the composition and first performance of Parsifal) never mention once any such intention.

Footnote: This is not entirely correct. In her diary, Cosima quotes Wagner as saying "Gobineau states that the Germanic race is nature's last card. Likewise, 'Parsifal' is the last card I have to play." (ASL)

Wagner first met Gobineau very briefly in 1876, but he only read Gobineau's An Essay on the Inequality of the Human Races in 1880. However, Wagner had completed the libretto for Parsifal by 1877, and the original drafts of the story date back to 1857. Despite this lack of chronology, Gobineau is frequently cited as a major inspiration for Parsifal.

If Parsifal so clearly expressed the concept of Aryan supremacy then it would doubtless have been popular with the Nazi party in 20th Century Germany. In fact, the Nazis placed a de facto ban on performances of Parsifal because of its "pacifist undertones".

Other writers see Parsifal as Wagner's last great espousal of Schopenhaurian philosophy. Parsifal can heal Amfortas and redeem Kundry because he shows compassion, which Schopenhauer saw as the highest form of human morality. Moreover, he displays compassion in the face of enormous sexual temptation (Act 2 scene 3). Once again, Schopenhaurian philosophy suggests that the only escape from the ever-present temptations of human life is through negation of the Will, and overcoming sexual temptation is in particular a strong form of negation of the Will. When viewed in this light, Parsifal, with its emphasis on "Mitleid" (compassion) is a natural follow-on to Tristan und Isolde, where Schopenhauer's influence is perhaps more obvious, with its focus on "Sehnen" (yearning). Indeed, Wagner originally considered including Parsifal as a character in Act 3 of Tristan, but later rejected the idea.

Many music theorists have used Parsifal to explore difficulties in analyzing the chromaticism of late 19th century music. The unusual harmonic progressions in the leitmotivs which structure the piece, as well as the heavy chromaticism of Act II, make it a difficult work to parse not only philosophically, but musically.

Stage Productions: Act 1: "Recht so - habt Dank" (Enough - my thanks) Baden-Baden 2005. Thomas Hampson (Amfortas), Matti Salminen (Gurnemanz), Waltraud Meier (Kundry). Conductor: Kent Nagano

Parsifal Act 1 "Enough - my thanks"

Add to My Profile | More Videos

Act 3: "Gestatte, daß dein Knecht dich geleite" - Permit your servant to guide you New York 1992. Kurt Moll (Gurnemanz). Conductor: James Levine

Parsifal Act 3 "Permit your servant"

Add to My Profile | More Videos

Act 3, Finale New York 1992. Bernd Weikl (Amfortas), Siegfried Jerusalem (Parsifal). Conductor: James Levine

Parsifal Act 3 Finale

Add to My Profile | More Videos

Type of Label: None

My Blog

Rolf May: Parsifal - A Theosophical point of view

Wagner's ParsifalA Theosophical point of viewBy Rolf MayCondensed from an Address given on July 20 at the Friendship Meeting held under the auspices of The Theosophical Society (Pasadena) at the Volks...
Posted by Parsifal on Tue, 03 Apr 2007 03:27:00 PST

Parsifal Act 3, full text (English)

Parsifal ACT THREE In the domain of the Grail. A pleasant, open spring landscape with a background of gently rising flowery meadows. The edge of the forest forms the foreground, and extends to the r...
Posted by Parsifal on Mon, 02 Apr 2007 11:48:00 PST

Parsifal Act 2, full text (English)

Parsifal ACT TWO Klingsor's magic castle. The inner keep of a tower open to the sky. Stone steps lead to the battlements on the tower wall. The stage represents the projecting wall of the tower, whi...
Posted by Parsifal on Mon, 02 Apr 2007 12:01:00 PST

Parsifal Act 1, full text (English)

ParsifalACT ONEIn the domain of the GrailForest, shady and solemn but not gloomy.GURNEMANZwaking and rousing the squiresHo there! You guardians of the woods,or rather guardians of sleep,at least wake ...
Posted by Parsifal on Mon, 02 Apr 2007 12:15:00 PST