Wagner - Parsifal (Bayreuth, 2023)

Richard Wagner - Parsifal

Bayreuther Festspiele, 2023

Pablo Heras-Casado, Jay Scheib, Andreas Schager, Derek Welton, Georg Zeppenfeld, Elīna Garanča, Jordan Shanahan, Tobias Kehrer, Siyabonga Maqungo, Jens-Erik Aasbø, Betsy Horne, Margaret Plummer, Jorge Rodríguez-Norton, Garrie Davislim, Evelin Novak, Camille Schnoor, Julia Grüter, Marie Henriette Reinhold

BR-Klassik livestream - 25th July 2023

There is obviously more than one way to view an opera, particularly so in a work as rich, abstract and enigmatic as Parsifal, but this year's new production by American director Jay Scheib for the 2023 Bayreuther Festspiele actually went as far as delivering a production where the audience watching it could see two different productions playing out at the same time. The was achieved by 'augmented reality', allowing a small proportion of the audience (330 of the almost 2,000 capacity) to see enhanced elements while the majority got the plain vanilla version. As if there could be anything 'vanilla' about Parsifal. While I can't say much about the enhanced version - having watched the non-augmented reality version (or simply 'reality' as most people know it) via a livestream, I have doubts that it could offer anything more than the regular version. And even if that wasn't particularly revelatory, this Parsifal had a few interesting ideas and some fine musical and singing performances.

It's just my opinion of course, but no Wagner opera should be exempt from the kind of restless experimentation, updating, reworking, rethinking, modernisation, whatever you want to call it that Bayreuth often exercises in their stage productions of his works. Some works appear to be more suited to this than others, some are just incoherently thought out, but often they do succeed in inspiring new ways of considering some of the greatest works of opera. Parsifal has less surface narrative than most and is often interpreted in a wide variety of ways, but there are nonetheless deep important spiritual intentions in the work that should not be neglected. But if you can find other ways to tap into this, why not try?

Wagner's music score is more than capable of withstanding any conceptual conceit a stage director throws at it, and it can be just as intriguing hearing what the individual interpretation a conductor can bring to the pace, delivery and detail of the score. If you have that and when you have a good cast, you know the work has everything it needs, and anything else that the stage director decides to focus on is a bonus that you can choose to consider or not. As far as the new Bayreuth production is concerned, the musical under Pablo Heras-Casado is. I've liked others better, but that's just personal preference and as long as the purpose of the music and its relation to the underlying sentiments, philosophy, mood and drama is maintained - which it is here - then that's the basic minimum you can expect. The singing is essential also - you simply can't do Parsifal without strong experienced voices - and looking at the cast here for the roles of Gurnemanz, Parsifal and the Kundry here, there are no worries on that account, but it's supported also by fine performances in the roles of Amfortas, Klingsor, and Titurel. There can be few complaints, if any, on that score.

The deeper message of Parsifal lies in the musical expression, and perhaps even more in the responsiveness of the listener, all of which are more expressive than the relative and deceptive simplicity of the plot outline, which you would think would not allow for any great variance - although many directors have managed to successfully find other creative ways to relate to the underlying tone of the work. One can glance through past reviews here just to see how varied interpretations can be. This long preamble might suggest that I don't have a lot to say about this specific production that I haven't said before and which hasn't been expressed better in other productions - including of course Stefan Herheim's Parsifal at Bayreuth, which I have yet to say anything about - and to some extent it's true that there is not a lot that was inspired about this new version (non-augmented reality version anyway), but it was still good enough to impress.

Leaving aside the augmented reality aspect, one way a director can choose to impose or highlight a certain crucial aspect of Parsifal or any opera work, is by the use of additional silent actors. While most of us don't see the visual overlays, we do see at least one 'invisible' figure, a kind of mirror image of Kundry, or simply 'woman'. Gurnemanz upon waking, or in his waking moments, is seen grappling in the embrace of an unknown woman during the prelude. She appears to be a holy woman, judging from the image of a saint or holy figure on the back of her shirt, or perhaps just appears that way to the devout Gurnemanz. She remains in the background in Act I, tending to the unhealing wound of Amfortas and appears elsewhere throughout the work. Is she a mirror image or expansion of Kundry? In a work where the presence of woman outside of Kundry barely makes an impression other than to lead good righteous men into ruin, Kundry's expansive presence can be extended in a work where compassion is important.

And yet, although many other productions make a powerful Kundry central to the whole ethos and philosophy of the work, that aspect is not emphasised as much, or seemingly as central to the other significant spin that the director places on the work, which is in how the Grail and the worship of the Grail is depicted here. The Grail is shown as a large purple-blue crystal, but more than its physical presence, what it important is how it is depicted as something painful, an adherence to old traditions (and religions?), that need to be cast off for mankind to be free from the weight of the past in order to achieve transcendence. This is hinted at in the second Act, where there is a connection established between the Grail and the cavern where Klingsor resides, which is the same shape and colour as the crystal in Act I. This is taken through to Act III which goes as far as Parsifal destroying the 'grail', the crystal thrown to the ground and shattering into pieces.

Although pain and suffering has always been an essential part of Parsifal, the path to enlightenment being essentially a painful journey, it's a significant departure nonetheless to actually destroy the Grail at the conclusion. Yet somehow this doesn't really achieve the redemptive quality of the work that you expect, but there is clearly an effort made to tie it in with the transformative impact that all the principal figures - and even secondary ones - undergo. Personally, while the set design is at least wholly sympathetic to the work, I think the fine singing is key to bringing this together as successfully as it does. Act I at least has all the beauty, agony and magnificence you could hope for and expect, laying the seeds for what it proposed in the subsequent acts. The set is open and spacious, simple and abstract - a pool, a platform/bed/coffin, a high steel pillar and a circle of light that rises to fill the stage with light during the transubstantiation offering (this one very reminiscent of a Catholic mass communion processional), but it's Amfortas's pain and the performance of it from Derek Welton that hits the mark.

Act II is much more exotically coloured and lit than is usual for the garden of the flower-maidens, appearing genuinely enchanted (and I imagine even more so in the AR version) but again, what really brings it to life is the singing. The struggle between Klingsor and Kundry as he exerts his power over her is excellent, mainly on account of the performances and singing of Jordan Shanahan as Klingsor and Elīna Garanča as Kundry. Andreas Schager has a key role to play as Parsifal of course, and does so with characeristic intensity in this act. Building on the view of the Grail that this production takes, poor Sir Ferris exists as here as a blood splattered dummy in the background while Kundry attempts her seduction of Parsifal. Parsifal is moved to rip out his heart out and compare it to a stone, as he reflects on his failing to recognise what has prevented him from understanding Amfortas/The Saviour's suffering for our sins and begin the search for redemption. Schager makes it feel real and is matched by Garanca's expression of Kundry's torment. It's hard not to be won over, even if there is little that is new expressed here.

I can't say I've ever seen a production of Parsifal that matches the description stage directions for Act III as "A pleasant, open spring landscape with a background of gently rising flowery meadows". More often it looks more like a post-apocalyptic landscape. Here indeed the stage is dominated by some monstrous looking rock crushing truck that houses Gurnemanz, and by a crater in the centre of the stage that doesn't look much like a holy spring. The rock crushing extends then to Parsifal's destruction of crystal, ending the worship of the Grail and the ways of the past. This is also the idea emblazoned on the back of the shirts of Kundry and Parsifal, the former saying 'Forget Me', the latter 'Remember Me', the two of them united in the holy spring. Even Gurnemanz embraces his shadow Kundry. It would seem to have little to do with Wagner's idea of redemption, but it is impossible nonetheless not to be moved by the extraordinary beauty and majesty of this work and what it achieves across four hours.

That at least is supported by truly impressive singing performances and an outstanding chorus. Georg Zeppenfeld is his usual solid impressive Gurnemanz, with grave, clear intonation and authority. Andreas Schager sings with such intensity that he inevitably show a little bit of strain. Elīna Garanča makes her debut appearance at Bayreuth, but I've seen her sing the role of Kundry in an ambitious production of Parsifal at Vienna in 2021 (which interestingly doubled the role of Parsifal as they do with Kundry here). She is even more impressive here and takes the curtain call at the premiere of this new production to deservedly thunderous applause. Pablo Heras-Casado is warmly received for a consistent measured performance dramatically attuned to the stage, that nonetheless (although limited to the sound mix on the livestream) I thought sounded a little lacking in detail in places. There was inevitably a mixed reception for the production team, the louder boos trying to drown out what sounded in the main like welcome applause.

This was not a great production though. Depending on your view it fails to make the essential point of the work or you could think that it finds its own roundabout way around to it, but it has moments that are successful and it looks suitably impressive. Like many of the recent Bayreuth productions however it feels like a kind of halfway house between the extreme much-maligned but fascinating excesses of the last decade and a more traditional production that at least touches base with the original stage directions. The new developments like the use of AR here - which I've read about subsequently and it seems genuinely interesting if a little overdone (reminding me of an initial misguided and eventually rejected idea to do something similar in Robert Dornhelm's greenscreen experiments for his film version of La Bohème way back in 2006) - are welcome, showing a willingness to still trying to extend the word, the music, the significance and the legacy of Wagner into the future while at the same time trying not to lose the traditional unadventurous audience who expect something more respectful or reverential.

External links: Bayreuther Festspiele, BR-Klassik

Mozart - Die Entführung aus dem Serail (Glyndebourne, 2015)

Wolfgang Amadeus Mozart - Die Entführung aus dem Serail

Glyndebourne, 2015

Robin Ticciati, David McVicar, Sally Matthews, Edgaras Montvidas, Tobias Kehrer, Brenden Gunnell, Franck Saurel, Mari Eriksmoen, Jonas Cradock

Opus Arte - Blu-ray

In a radical new approach to directing opera, David McVicar has moved more towards the idea of respecting the original period and libretto in order to get as close as possible to the composer's intentions. It's radical only in that such fidelity to the source is not currently fashionable in opera productions, but McVicar's contention would be that putting the work above the director's ego is surely paramount. While McVicar may have been a little more flexible with period detail in other opera productions in the past, he has however always seemed to be less inclined to mess about with the original intentions of Mozart operas and you can't really argue with the reasoning behind that that decision.

The great Mozart operas need no updating to assist a modern audience in grasping the universality and humanism that lies within them. By the same token their qualities ensure that they can equally withstand a modern interpretation, but what matters is that the director remains faithful to the meaning and intent of the works, and in that respect 'traditional' works just as well as 'revised'. Whether the same qualities can be found in an old-fashioned Singspiel comedy like Die Entführung aus dem Serail however is more questionable, as is the decision to play it straight with period detail and literalism. It works, of course - it's still Mozart - but whether it presents the work in its best light for a modern audience is debatable.

Evidently it's not possible to stage a work such as this as it was originally intended. The world is a different place, people behave a little differently and they have different ideas of what humour can be derived from western women being held captive in a barbaric Turkish harem. Die Entführung aus dem Serail however is no inconsequential lightweight comedy and Mozart still manages to find the most noble human sentiments in even the most unlikely places and brings it out beautifully in his music. All McVicar's production seeks to do is make it all seem a little more realistic and credible without damaging the integrity of the work.

Or indeed the humour. Realistic and credible is not really essential for a comedy opera and it can in fact be a mistake to take it too seriously. Christof Loy has already established that when you include all or most of the spoken dialogue, you have a very different Die Entführung aus dem Serail from the general perception of the work. McVicar's direction, also retaining most of the spoken text, allows the humour to work alongside this, and undoubtedly that's an important aspect that contributes to the wider human element of the work.

I'm not sure though that there's much to be gained from asking Vicki Mortimer to go into such meticulous detail in researching and building the elaborate sets for this Glyndebourne production. McVicar tweaks the public and private locations from scene to scene to make it more realistic - even if there is still no sense whatsoever of it being in a seraglio - and Mortimer and the crew oblige with impressive stage-craft. For the amount of effort put into this however, it doesn't seem to bring a corresponding increase in value or depth. If however all you gain is a sense of order and elegance as well as a certain delicacy of touch, well then that suits Mozart, and McVicar, as he often does, judges the tone perfectly and matches it on the stage impressively.

Looking like something of a sister production for McVicar's 2013 Die Meistersinger von Nürnberg however, it's a sign of the safer and more traditional side adopted in recent years by Glyndebourne. There are still some daring reworkings in each year's programme, but not here and not with Mozart - at least not since the 2010 'La Dolce Vita' version of Don Giovanni. Die Entführung aus dem Serail has proven its worth in the Mozart operatic canon over the years and it deserves a serious treatment. It gets that here with the Orchestra of the Age of Enlightenment under Robin Ticciati, the period orchestra arrangement enlivening the work with a real kick. There's much to enjoy in the treatment then, just not much that is imaginative or adventurous.

Unfortunately, while the cast is impressive and the singers are all very capable, it's not good enough overall to give the production a bit more of a lift or an edge. Sally Matthews has a powerful range and has impressed many times on the Glyndebourne stage, but her timbre is a little harsh for Mozart. McVicar clearly intends to depict Konstanze as a woman with a little more fire and grit, and you do get a realistic sense of the seriousness of her predicament, but the lyricism and the romantic sensibility isn't there. Her voice seems warmer in the second and third acts, but without a sufficient connection with Edgaras Montvidas' Belmonte, it never really comes together the way you might like.

Montvidas is fine and if he similarly doesn't have the beautiful soaring tone of a typical Mozart tenor or a prototype Tamino he nonetheless gives a good performance as Belmonte. It just doesn't particularly stand out. For Die Entführung to work well however, you really need the comic roles to be well cast, and there at least the singing matched the tone being strived for with Brenden Gunnell a lively and desperate Pedrillo - a role that has Papageno-like potential for stealing the show in this opera - and with Tobias Kehrer excelling as his adversary Osmin. Mari Eriksmoen's voice wasn't always the strongest, but her Blonde was played well.

What continues to be a remarkable discovery however, fully justifying the decision to include as much of the spoken dialogue as possible, is just how important and significant the non-singing role of Pasha Selim is to the whole tone and purpose of the opera. It's one that proves that drama is the beating heart of opera and one that Mozart wasn't afraid to entrust to an actor rather than a singer. Franck Saurel plays the role rather well here, showing the kind of dynamic and emotional investment that Selim brings to the work, deepening the serious questions raised as well as contrasting with and extending the comedy. Proving McVicar's point, given the right environment and fidelity to the intent of Mozart's music and drama, Die Entführung aus dem Serail speaks for itself.

The quality of the HD transfer on Blu-ray is exceptionally good, not least with the detail that can be heard in the DTS HD Master Audio 5.1 and the LPCM Stereo mixes. The BD includes a feature that looks into how the visual look of the production was developed. There's more on this in the booklet, where there is an interview with the set designer Vicki Mortimer. The booklet also contains an essay by Cori Ellison and a synopsis for the opera.


Links: Glyndebourne