Thu 24 Feb 2011
Richard Wagner - Parsifal
English National Opera, London | Mark Wigglesworth, Nikolaus Lehnhoff, Iain Paterson, John Tomlinson, Tom Fox, Stuart Skelton, Jane Dutton, Andrew Greenan | The Coliseum, London - February 19th, 2011
Wagner’s final opera, written and first produced in 1882, a year before his death, takes around four hours to relate a story that could be easily summarised in a couple of lines. It’s about a group of knights, protectors of the Holy Grail, who hope one day to recover the equally holy spear that pierced Christ’s side while on the cross. It has been prophesised that only a pure innocent holy fool will be able to achieve this, wresting it from the clutches of the evil Klingsor and thereby bring about redemption for Amfortas, the leader of the knights who suffers from an eternal wound that the spear has inflicted upon him. The person who comes along to fulfil this prophecy is Parsifal.
It seems like a very simple storyline and not one that would fill four hours of an opera, one would think – or at least one would think that were they not familiar with Richard Wagner. The key word in the above description is ‘suffering’, and, no, I’m not describing what an audience listening to four hours of Wagner has to undergo. On the contrary, Parsifal is filled end to end with some of the most exquisitely beautiful, thoughtful and indescribably sublime music that the composer, or indeed any composer, has ever written. The opera, rather, was inspired by Wagner’s attempt, late in his life, to come to terms with the idea of suffering, endless suffering, life as sufferance, and question what humanity gains through endurance of such torment.
There’s evidently a heavily Christian undercurrent to Parsifal then (although Wagner was in fact largely inspired by Buddhist teaching on the matter), with many of the characters undergoing Christ-like trials and torments to ultimately achieve purification for humanity, rediscover innocence, peace and an end to suffering, and through this the inspiration to continue to wage a holy war against infidels and those whose blood is less than pure. That makes the concept that Parsifal explores rather more complicated, not to say, in the light of the composer’s notorious anti-Semitic sentiments, even somewhat sinister.
The huge undertaking of the various concepts, and the Christian ideals that are explored in Parsifal however can be seen not even as an undercurrent, but in the very overt subject matter of the Holy Grail itself and the powerful symbolism of this image – according to Wagner “The most profound symbol that could ever have been invented as the content of the physical-spiritual kernel of any religion”. One need only think of how the term is applied in a modern context as the be all and end all, the ultimate aim, aspiration and desire of every human being – something that they are prepared to sacrifice everything for and endure so much suffering to attain.That’s why Parsifal takes four hours to express its ideas, since this is something that has to be worked for, won through long suffering, endurance and purity of purpose. Almost all of the characters in the opera are single-minded in their pursuit of this aim, and it is not too difficult to fathom their motivations, but there are some, Amfortas, and particularly Kundry, who have conflicting behaviours and rather more complex personalities, and it is ultimately through them, as much as through Parsifal, that true enlightenment is reached. All of the characters however are given infinitely more depth through Wagner’s sensuously contemplative score that lifts the piece out of any earthly existence and out into a realm “beyond time and space”.
Nikolaus Lehnhoff’s superb 1999 stage production, revived here for its final performances at the English National Opera, brilliantly works on multiple levels, creating a place that seems to exist in an otherworldly domain, while at the same time being resolutely physical and austere in its expression of the nature of the characters and their struggles. In stark contrast to Mike Figgis’ first attempt at opera direction with Lucrezia Borgia, seen on stage at the Coliseum the previous night, Lehnhoff – renowned for his productions of Wagner’s music dramas – demonstrates a deep understanding of Parsifal and, in what can be a very static opera, makes full use of the stage to express it. The restlessness of the characters and their relation to one another is played out in their movements and proximity to one another, lighting and colouration used for emphasis and to highlight the tones expressed by the music. And not only is full use of the stage made in this respect, but, like the score, it even takes it beyond the confines of the physical dimensions of the Raimund Bauer’s set designs. That sounds like hyperbole, but the staging and Wagner’s remarkable orchestration is so persuasive that it really does take the audience into another dimension.
The playing of the orchestra of the English National Opera, conducted by Mark Wigglesworth, could not be faulted, nor could individual performances by a uniformly strong cast or the powerful presence of the chorus. It would be unfair to single out any one singer when every element works together in such a fashion, but John Tomlinson as Gurnemanz proved to be an impressive narrator to anchor the opera with his wonderful bass tone and clear English diction. There are only a few performances of this opera left at the Coliseum, and although it has been recorded for posterity and is available on Blu-ray disc, it is still well worth making the effort to see it in a live performance before it disappears from the stage forever.