Important Info

Type: Opera

City: Vienna, Austria

Starts at: 17:00

Acts: 3

Intervals: 2

Duration: 5h

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

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You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Baritone: Ludovic Tézier (Amfortas)

Soprano: Anja Kampe (Kundry)

Conductor: Axel Kober

Baritone: Jochen Schmeckenbecher (Klingsor)

Tenor: Klaus Florian Vogt (Parsifal)

Creators

Composer: Richard Wagner

Director: Günther Groissböck

Director: Kirill Serebrennikov

Librettist: Richard Wagner

Poet: Wolfram von Eschenbach

Overview

The mature Parsifal relives his youth in his memories. By narrating his story, time becomes space for him, where he meets his earlier self: he was a nameless inmate in Monsalvat, a detention center for criminals.

The plot of the play takes place during the Christian reconquest on the Arab-occupied Spanish peninsula. The opening scene shows the band of men, or Knights of the Holy Grail, which has become susceptible to crisis. It has been witnessed, time and time again, that knights have deserted their posts only to join the kingdom of the sorcerer Klingsor, who has emasculated himself in his striving for sexual abstinence and was rejected previously by the circle of knights.

Through his castration, Klingsor now has the power to dominate women. He uses the power of these maidens to leer and bring the all-faithful band of Christian knights to their death. He was even capable of enticing the King of the Grail, Amfortas, to make a mistake by stealing his holy spear and inflicting an incurable wound – the aftermath of which has Amfortas wailing of the ordeal that the ritual unveiling of the Grail has become, which he only carries out dutifully upon being pressured by his father, who is "living in the grave", and which he then wholly refuses to perform upon the latter's death. However, only a destined "pure fool" could undo the sins of the Grail King and reverse its devastating consequences. A decisive role in this work of redemption is played by an enigmatic woman who travels under different identities both in the territory of the Holy Grail’s Castle and in Klingsor's enchanted castle.

Wagner's last magnificent opera brings together the problems with which the poet-composer's entire oeuvre confronts the audience: Avant-garde and romanticism, combined with the dissolution of boundaries and ideology, intertwine almost indissolubly. The genre name of "Bühnenweihfestspiel" (Wagner’s own description of his last work, which means sacred festival drama) refers to the claim of an art religion. For 30 yeas until the copyright expired, the performance was reserved for the Bayreuth Festival, where theatre is staged as a ritual. In the haze of the festival theatreracist world views flourished, hinting at the purity ideology of "Parsifal", suggesting that it was an anti-Semitic play to inspire a "people".

However, it is not the politically compromised romantic messages of salvation that force us to examine "Parsifal" critically, but the aesthetic new iteration of the brilliant musical drama, which suggests the notion of: "We dismiss romantic magic. What remains, now that magic has failed? The style, the technique, the spirit. Not the spirit of 'pure folly', but the spirit of art," wrote the music author August Halm in 1916. Of course, his voice, one of the few prudent ones, could not prevent the National Socialist abuse that was being committed with the work. But it indirectly referred to the pioneers of an emphatical modernity who took up the legitimate, namely creative legacy of the "Parsifal" music: the Frenchman Debussy, whose soundscape seems to have been anticipated in the flower girl scene of the second act, and the Austrian Jews Mahler and Schönberg. For Mahler's work, the solemnly striding metamorphic music of the first and third acts, in connection with their bell motifs, became a decisive influence, while the prelude to the third act, in which Wagner touches on atonality, anticipates Schönberg's style.

The not only temporal break between the first two acts and the third act led director Kirill Serebrennikov, who is also his own stage and costume designer, to have the story of the matured Parsifal told in a flashback, as it were, which leads us through the events of the first two acts until we arrive in the presence of the narrator in the third act. Serebrennikov associates the dysfunctional male world of the Grail Society with the topography of a prison complex, or more precisely a "maison centrale", a French type of prison, into which the so-called hopeless, often members of ethnic or religious minorities, are interned and left to fend for themselves. There, the juvenile delinquent Parsifal is confronted with a ritual of initiation, in the course of which violence and ecstasy are closely related. In this completely impervious man's world, the only woman to make her appearance is the erratic figure of the messenger Kundry - in the case of Serebrennikov, a journalist driven by her interest in the structures of violence, as shaped by such a maison centrale. In doing so, she operates in a grey zone in which she also functions as an accomplice of the detainees.

History

Premiere of this production: 26 July 1882, Bayreuth Festspielhaus

Parsifal is an opera in three acts by German composer Richard Wagner. It is loosely based on Parzival by Wolfram von Eschenbach, a 13th-century epic poem of the Arthurian knight Parzival (Percival) and his quest for the Holy Grail (12th century).

Synopsis

Place: Near the seat of the Grail

Act I

n a forest near the home of the Grail and its Knights, Gurnemanz, eldest Knight of the Grail, wakes his young squires and leads them in prayer. He sees Amfortas, King of the Grail Knights, and his entourage approaching. Amfortas has been injured by his own Holy Spear, and the wound will not heal.

Vorspiel

Musical introduction to the work with a duration of c. 9–13 minutes.

Scene 1

Gurnemanz asks the lead Knight for news of the King's health. The Knight says the King has suffered during the night and is going early to bathe in the holy lake. The squires ask Gurnemanz to explain how the King's injury can be healed, but he evades their question and a wild woman – Kundry – bursts in. She gives Gurnemanz a vial of balsam, brought from Arabia, to ease the King's pain and then collapses, exhausted.

Amfortas arrives, borne on a stretcher by Knights of the Grail. He calls out for Gawain, whose attempt at relieving the King's pain had failed. He is told that Gawain has left again, seeking a better remedy. Raising himself somewhat, the King says going off without leave ("Ohn' Urlaub?") is the sort of impulsiveness which led himself into Klingsor's realm and to his downfall. He accepts the potion from Gurnemanz and tries to thank Kundry, but she answers abruptly that thanks will not help and urges him onward to his bath.

The procession leaves. The squires eye Kundry with mistrust and question her. After a brief retort, she falls silent. Gurnemanz tells them Kundry has often helped the Grail Knights but that she comes and goes unpredictably. When he asks directly why she does not stay to help, she answers, "I never help! ("Ich helfe nie!"). The squires think she is a witch and sneer that if she does so much, why will she not find the Holy Spear for them? Gurnemanz reveals that this deed is destined for someone else. He says Amfortas was given guardianship of the Spear, but lost it as he was seduced by an irresistibly attractive woman in Klingsor's domain. Klingsor grabbed the Spear and stabbed Amfortas. The wound causes Amfortas both suffering and shame, and will never heal on its own.

Squires returning from the King's bath tell Gurnemanz that the balsam has eased the King's suffering. Gurnemanz's own squires ask how it is that he knew Klingsor. He solemnly tells them how both the Holy Spear, which pierced the side of the Redeemer on the Cross, and the Holy Grail, which caught the flowing blood, had come to Monsalvat to be guarded by the Knights of the Grail under the rule of Titurel, father of Amfortas. Klingsor had yearned to join the Knights but, unable to keep impure thoughts from his mind, resorted to self-castration, causing him to be expelled from the Order. Klingsor then set himself up in opposition to the realm of the Grail, learning dark arts, claiming the valley domain below and filling it with beautiful Flowermaidens to seduce and enthrall wayward Grail Knights. It was here that Amfortas lost the Holy Spear, kept by Klingsor as he schemes to get hold of the Grail as well. Gurnemanz tells how Amfortas later had a holy vision which told him to wait for a "pure fool, enlightened by compassion" ("Durch Mitleid wissend, der reine Tor") who will finally heal the wound.

At this moment, cries are heard from the Knights ("Weh! Weh!"): a flying swan has been shot, and a young man is brought forth, a bow in his hand and a quiver of matching arrows. Gurnemanz speaks sternly to the lad, saying this is a holy place. He asks him outright if he shot the swan, and the lad boasts that if it flies, he can hit it ("Im Fluge treff' ich was fliegt!") Gurnemanz tells him that the swan is a holy animal, and asks what harm the swan had done him, and shows the youth its lifeless body. Now remorseful, the young man breaks his bow and casts it aside. Gurnemanz asks him why he is here, who his father is, how he found this place and, lastly, his name. To each question the lad replies, "I don't know." The elder Knight sends his squires away to help the King and now asks the boy to tell what he does know. The young man says he has a mother, Herzeleide (Heart's Sorrow) and that he made the bow himself. Kundry has been listening and now tells them that this boy's father was Gamuret, a knight killed in battle, and also how the lad's mother had forbidden her son to use a sword, fearing that he would meet the same fate as his father. The youth now recalls that upon seeing knights pass through his forest, he had left his home and mother to follow them. Kundry laughs and tells the young man that, as she rode by, she saw Herzeleide die of grief. Hearing this, the lad first lunges at Kundry but then collapses in grief. Kundry herself is now weary for sleep, but cries out that she must not sleep and wishes that she might never again waken. She disappears into the undergrowth.

Gurnemanz knows that the Grail draws only the pious to Monsalvat and invites the boy to observe the Grail rite. The youth does not know what the Grail is, but remarks that as they walk he seems to scarcely move, yet feels as if he is traveling far. Gurnemanz says that in this realm time becomes space ("Zum Raum wird hier die Zeit").

Verwandlungsmusik (Transformation)

An orchestral interlude of about 4 minutes.

Scene 2

They arrive at the Hall of the Grail, where the Knights are assembling to receive Holy Communion ("Zum letzten Liebesmahle"). The voice of Titurel is heard, telling his son, Amfortas, to uncover the Grail. Amfortas is wracked with shame and suffering ("Wehvolles Erbe, dem ich verfallen"). He is the guardian of these holy relics yet has succumbed to temptation and lost the Spear. He declares himself unworthy of his office. He cries out for forgiveness ("Erbarmen!") but hears only the promise that he will one day be redeemed by the pure fool.

On hearing Amfortas' cry, the youth appears to suffer with him, clutching at his heart. The knights and Titurel urge Amfortas to reveal the Grail ("Enthüllet den Gral"), and he finally does. The dark hall is now bathed in the light of the Grail as the Knights eat. Gurnemanz motions to the youth to participate, but he seems entranced and does not. Amfortas does not share in taking communion and, as the ceremony ends, collapses in pain and is carried away. Slowly the hall empties leaving only the young man and Gurnemanz, who asks him if he has understood what he has seen. When the lad cannot answer, Gurnemanz dismisses him as just a fool and sends him out with a warning to hunt geese, if he must, but to leave the swans alone. A voice from high above repeats the promise: "The pure fool, enlightened by compassion".

Act II

Vorspiel

Musical introduction of c. 2–3 minutes.

Scene 1

Klingsor's magic castle. Klingsor conjures up Kundry, waking her from her sleep. He calls her by many names: First Sorceress (Urteufelin), Hell's Rose (Höllenrose), Herodias, Gundryggia and, lastly, Kundry. She is now transformed into an incredibly alluring woman, as when she once seduced Amfortas. She mocks Klingsor's mutilated condition by sarcastically inquiring if he is chaste ("Ha ha! Bist du keusch?"), but she cannot resist his power. Klingsor observes that Parsifal is approaching and summons his enchanted knights to fight the boy. Klingsor watches as Parsifal overcomes his knights, and they flee. Klingsor wishes destruction on their whole race.

Klingsor sees this young man stray into his Flowermaiden garden and calls to Kundry to seek the boy out and seduce him, but when he turns, he sees that Kundry has already left on her mission.

Scene 2

The triumphant youth finds himself in a wondrous garden, surrounded by beautiful and seductive Flowermaidens. They call to him and entwine themselves about him while chiding him for wounding their lovers ("Komm, komm, holder Knabe!"). They soon fight and bicker among themselves to win his devotion, to the point that he is about to flee, but then a voice calls out, "Parsifal!" He now recalls this name is what his mother called him when she appeared in his dreams. The Flowermaidens back away from him and call him a fool as they leave him and Kundry alone.

Parsifal wonders if the Garden is a dream and asks how it is that Kundry knows his name. Kundry tells him she learned it from his mother ("Ich sah das Kind an seiner Mutter Brust"), who had loved him and tried to shield him from his father's fate, the mother he had abandoned and who had finally died of grief. She reveals many parts of Parsifal's history to him and he is stricken with remorse, blaming himself for his mother's death. He thinks himself very stupid to have forgotten her. Kundry says this realization is a first sign of understanding and that, with a kiss, she can help him understand his mother's love. As they kiss Parsifal suddenly recoils in pain and cries out Amfortas' name: he feels the wounded king's pain burning in his own side and now understands Amfortas' passion during the Grail Ceremony ("Amfortas! Die Wunde! Die Wunde!"). Filled with this compassion, Parsifal rejects Kundry's advances.

Furious that her ploy has failed, Kundry tells Parsifal that if he can feel compassion for Amfortas, then he should be able to feel it for her as well. She has been cursed for centuries, unable to rest, because she saw Christ on the cross and laughed at His pains. Now she can never weep, only jeer, and she is enslaved to Klingsor as well. Parsifal rejects her again but then asks her to lead him to Amfortas. She begs him to stay with her for just one hour, and then she will take him to Amfortas. When he still refuses, she curses him to wander without ever finding the Kingdom of the Grail, and finally calls on her master Klingsor to help her.

Klingsor appears and throws the Spear at Parsifal, but it stops in midair, above his head. Parsifal takes it and makes the sign of the Cross with it. The castle crumbles and the enchanted garden withers. As Parsifal leaves, he tells Kundry that she knows where she can find him.

Act III

Vorspiel

Musical introduction of c. 4–6 minutes.

Scene 1

The scene is the same as that of the opening of the opera, in the domain of the Grail, but many years later. Gurnemanz is now aged and bent. It is Good Friday. He hears moaning near his hermit's hut and discovers Kundry unconscious in the brush, as he had many years before ("Sie! Wieder da!"). He revives her using water from the Holy Spring, but she will only speak the word "serve" ("Dienen"). Gurnemanz wonders if there is any significance to her reappearance on this special day. Looking into the forest, he sees a figure approaching, armed and in full armour. The stranger wears a helmet and the hermit cannot see who it is. Gurnemanz queries him and chides him for being armed on sanctified ground and on a holy day, but gets no response. Finally, the apparition removes the helmet and Gurnemanz recognizes the lad who shot the swan, and joyfully sees that he bears the Holy Spear.

Parsifal tells of his desire to return to Amfortas ("Zu ihm, des tiefe Klagen"). He relates his long journey, how he wandered for years, unable to find a path back to the Grail. He had often been forced to fight, but never wielded the Spear in battle. Gurnemanz tells him that the curse preventing Parsifal from finding his right path has now been lifted, but that in his absence Amfortas has never unveiled the Grail, and lack of its sustaining properties has caused the death of Titurel. Parsifal is overcome with remorse, blaming himself for this state of affairs. Gurnemanz tells him that today is the day of Titurel's funeral, and that Parsifal has a great duty to perform. Kundry washes Parsifal's feet and Gurnemanz anoints him with water from the Holy Spring, recognizing him as the pure fool, now enlightened by compassion, and as the new King of the Knights of the Grail.

Parsifal looks about and comments on the beauty of the meadow. Gurnemanz explains that today is Good Friday, when all the world is renewed. Parsifal baptizes the weeping Kundry. Tolling bells are heard in the distance. Gurnemanz says "Midday: the hour has come. My lord, permit your servant to guide you!" ("Mittag: – Die Stund ist da: gestatte Herr, dass dich dein Knecht geleite") – and all three set off for the castle of the Grail. A dark orchestral interlude ("Mittag") leads into the solemn gathering of the knights.

Scene 2

Within the castle of the Grail, Amfortas is brought before the Grail shrine and Titurel's coffin. He cries out, asking his dead father to grant him rest from his sufferings and expresses the desire to join him in death ("Mein Vater! Hochgesegneter der Helden!"). The Knights of the Grail passionately urge Amfortas to uncover the Grail again but Amfortas, in a frenzy, says he will never again show the Grail. He commands the Knights, instead, to kill him and end his suffering and the shame he has brought on the Knighthood. At this moment, Parsifal steps forth and says that only one weapon can heal the wound ("Nur eine Waffe taugt"). He touches Amfortas' side with the Spear and both heals and absolves him. Parsifal commands the unveiling of the Grail. As all present kneel, Kundry, released from her curse, sinks lifeless to the ground as a white dove descends and hovers above Parsifal.

Venue Info

Vienna State Opera - Vienna
Opernring 2

The Vienna State Opera is one of the leading opera houses in the world. Its past is steeped in tradition. Its present is alive with richly varied performances and events. Each season, the schedule features 350 performances of more than 60 different operas and ballets. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season.

The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (Wiener Hofoper) in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the Vienna Court Opera, the original construction site chosen and paid for by Emperor Franz Joseph in 1861.

The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka.

Gustav Mahler was one of the many conductors who have worked in Vienna. During his tenure (1897–1907), Mahler cultivated a new generation of singers, such as Anna Bahr-Mildenburg and Selma Kurz, and recruited a stage designer who replaced the lavish historical stage decors with sparse stage scenery corresponding to modernistic, Jugendstil tastes. Mahler also introduced the practice of dimming the lighting in the theatre during performances, which was initially not appreciated by the audience. However, Mahler's reforms were maintained by his successors.

Herbert von Karajan introduced the practice of performing operas exclusively in their original language instead of being translated into German. He also strengthened the ensemble and regular principal singers and introduced the policy of predominantly engaging guest singers. He began a collaboration with La Scala in Milan, in which both productions and orchestrations were shared. This created an opening for the prominent members of the Viennese ensemble to appear in Milan, especially to perform works by Wolfgang Amadeus Mozart and Richard Strauss.

Ballet companies merge

At the beginning of the 2005–2006 season, the ballet companies of the Staatsoper and the Vienna Volksoper were merged under the direction of Gyula Harangozó.

From the 2010–2011 season a new company was formed called Wiener Staatsballet, Vienna State Ballet, under the direction of former Paris Opera Ballet principal dancer Manuel Legris. Legris eliminated Harangozós's policy of presenting nothing but traditional narrative ballets with guest artists in the leading roles, concentrated on establishing a strong in-house ensemble and restored evenings of mixed bill programs, featuring works of George Balanchine, Jerome Robbins, Jiří Kylián, William Forsythe, and many contemporary choreographers, as well as a reduced schedule of the classic ballets.

Opera ball

For many decades, the opera house has been the venue of the Vienna Opera Ball. It is an internationally renowned event, which takes place annually on the last Thursday in Fasching. Those in attendance often include visitors from around the world, especially prominent names in business and politics. The opera ball receives media coverage from a range of outlets.

Parsifal

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Vienna State Opera - Vienna Opernring 2

Vienna State Opera - Vienna
Opernring 2