Parsifal COC banner

Parsifal

R. Wagner
To

Four Seasons Centre for the Performing Arts

Performance Length: 5 hours and 45 minutes, including two intermissions


#ParsifalCOC


What makes Parsifal so special?

As the first Parsifal in the COC’s history, this production is a major landmark for opera in Canada and a rare chance for audiences to immerse themselves in Richard Wagner’s final work.

Director François Girard transports Wagner’s Knights of the Holy Grail into our potential future: a post-apocalyptic world that has been brutally wounded by climate change and societal division.

Equal parts epic saga, poetic meditation, and sublime musical experience, Parsifal is an invitation for us to find a way to heal during our own challenging times.


“This Parsifal will be the stuff of legend for decades to come.”

– Opera Today


Credits
Sung in German with English SURTITLESTM


CAST AND CREATIVE TEAM

Conductor: Johannes Debus
Director: François Girard
Set Designer: Michael Levine
Costume Designer: Thibault Vancraenenbroeck
Lighting Designer: David Finn
Video Designer: Peter Flaherty
Choreographer: Carolyn Choa
Price Family Chorus Master: Sandra Horst


Parsifal: Christopher Ventris/Viktor Antipenko*
Amfortas: Johan Reuter
Kundry: Tanja Ariane Baumgartner
Klingsor: Robert Pomakov
Gurnemanz: Mika Kares/David Leigh*
Titurel: David Leigh/Vartan Gabrielian*
First Knight of the Grail: Owen McCausland
Second Knight of the Grail: Vartan Gabrielian

*Oct. 4 & 17

With the COC Orchestra and Chorus

Co-production with the Metropolitan Opera and Opéra national de Lyon




The Story

Plot in a Minute 

The knights who protect the Holy Grail enlist the help of a young man, Parsifal, who has been prophesied to help them reclaim the Holy Spear, and to help heal their ailing leader, Amfortas. Parisfal goes up against a powerful sorcerer, a bewitching seductress and ravishing Flower Maidens on his quest.


Synopsis 

ACT I

Near the sanctuary of the Holy Grail, the old knight Gurnemanz and two sentries wake and perform their morning prayers, while other knights prepare a bath for their ailing ruler Amfortas, who suffers from an incurable wound. Suddenly, Kundry—a mysterious, ageless woman who serves as the Grail’s messenger—appears. She has brought medicine for Amfortas. The knights carry in the king. He reflects on a prophecy that speaks of his salvation by a “pure fool, enlightened by compassion,” then is borne off. When the esquires ask about Klingsor, a sorcerer who is trying to destroy the knights of the Grail, Gurnemanz tells the story of Amfortas’s wound: The Holy Grail—the cup from which Christ drank at the Last Supper—and the Spear that pierced his body on the cross were given into the care of Titurel, Amfortas’s father, who assembled a company of knights to guard the relics. Klingsor, wishing to join the brotherhood, tried to overcome his sinful thoughts by castrating himself, but the brotherhood rejected him. Seeking vengeance, he built a castle across the mountains with a magic garden full of alluring women to entrap the knights. Amfortas set out to defeat Klingsor, but was himself seduced by a terribly beautiful woman. Klingsor stole the Holy Spear from Amfortas and used it to stab him. The wound can only be healed by the innocent youth of which the prophecy has spoken. Suddenly, a swan plunges to the ground, struck dead by an arrow. The knights drag in a young man, who boasts of his archery skills. He is ashamed when Gurnemanz rebukes him, but he cannot explain his violent act or even state his name. All he remembers is his mother, Herzeleide, or “Heart’s Sorrow.” Kundry tells the youth’s history: His father died in battle, and his mother reared the boy in a forest, but now she too is dead. Gurnemanz leads the nameless youth to the banquet of the Grail, wondering if he may be the prophecy’s fulfillment.

The knights assemble in the Hall of the Grail. Titurel bids Amfortas uncover the Grail to give strength to the brotherhood, but Amfortas refuses: The sight of the chalice increases his anguish. Titurel orders the esquires to proceed, and the chalice casts its glow about the hall. The nameless youth watches in astonishment but understands nothing. The ceremony ended, Gurnemanz, disappointed and angry, drives him away as an unseen voice reiterates the prophecy.

ACT II

At his bewitched fortress, Klingsor, the necromancer, summons Kundry—who, under his spell, is forced to lead a double existence—and orders her to seduce the young fool. Having secured the Spear, Klingsor now seeks to destroy the youth, whom he knows can save the knights of the Grail. Hoping for redemption from her torment, Kundry protests in vain.

The nameless youth enters Klingsor’s enchanted garden. Flower maidens beg for his love, but he resists them. The girls withdraw as Kundry, transformed into a beautiful young woman, appears and addresses him by his name—Parsifal. He realizes that his mother once called him so in a dream. Kundry begins her seduction by revealing memories of Parsifal’s childhood and finally kisses him. Parsifal suddenly feels Amfortas’s pain and understands compassion: He realizes that it was Kundry who brought about Amfortas’s downfall and that it is his mission to save the brotherhood of the Grail. Astonished at his transformation, Kundry tries to arouse Parsifal’s pity: She tells him of the curse that condemns her to lead an unending life of constantly alternating rebirths ever since she laughed at Christ on the cross. But Parsifal resists her. She curses him to wander hopelessly in search of Amfortas and the Grail and calls on Klingsor for help. The magician appears and hurls the Holy Spear at Parsifal, who miraculously catches it, causing Klingsor’s realm to perish.

ACT III

Gurnemanz, now very old and living as a hermit near the Grail’s sanctuary, finds the penitent Kundry in the forest and awakes her from a deathlike sleep. An unknown knight approaches, and Gurnemanz soon recognizes him as Parsifal, bearing the Holy Spear. Parsifal describes his years of wandering, trying to find his way back to Amfortas and the Grail. Gurnemanz tells him that he has come at the right time: Amfortas, longing for death, has refused to uncover the Grail. The brotherhood is suffering, and Titurel has died. Kundry washes Parsifal’s feet, and Gurnemanz blesses him and proclaims him king. As his first task, Parsifal baptizes Kundry. He is struck by the beauty of nature around them, and Gurnemanz explains that this is the spell of Good Friday. The distant tolling of bells announces the funeral of Titurel, and the three make their way to the sanctuary.

Knights carry the Grail, Amfortas, and Titurel’s coffin into the Hall of the Grail. Amfortas is unable to perform the rite. He begs the knights to kill him and thus end his anguish—when suddenly Parsifal appears. He touches Amfortas’s side with the Spear and heals the wound. Uncovering the Grail, he accepts the homage of the knights as their redeemer and king and blesses them. The reunion of the Grail and Spear has enlightened and rejuvenated the community.

Used with permission from the Metropolitan Opera 

PHOTOS



(Top to bottom): Scenes from the Metropolitan Opera’s production of Parsifal, 2013, photos: Ken Howard

Listen



Wagner’s Parsifal. Herbert von Karajan, conductor, with the Berliner Philharmoniker, 1981. Deutsche Grammophon

The Creators

RICHARD WAGNER (1813 – 1883)

Composer and Librettist 

Composer Richard Wagner was born in Leipzig, Germany. After an initial interest in literature, he began to study music in earnest in 1828. His first operatic successes were with Rienzi (1842), Der fliegende Holländer (The Flying Dutchman, 1843), Tannhäuser (1845) and Lohengrin (1850), for which he wrote both the music and the librettos.  

In 1848, Wagner began work on music that – 26 years later – would premiere as his mammoth Der Ring des Nibelungen (Ring Cycle), a 17-hour retelling of the Norse sagas, and the most monumental operatic work ever written. With the support of the teenage of King of Bavaria,  a fervent admirer, Wagner was able to premiere Tristan und Isolde (1865) and Die Meistersinger von Nürnberg (1868), and to build the Bayreuth Festival Theatre, designed to accommodate the large orchestras his operas required, and the particular technical demands of his productions. The theatre opened in 1876 with the first production of the full Ring Cycle. His last opera was Parsifal which premiered in 1882.

Wagner greatly changed the face of opera with his aesthetic concept of Gesamtkunstwerk (“total work of art”). In this concept, music and words are seamlessly integrated, and various art forms are combined for maximum expressive effect. Mythology, philosophy, dance, architecture, as well as the visual and plastic arts, would all be synthesized and absorbed into a unified, complete, multimedia experience. While this concept is taken for granted now, at the time it was revolutionary.  He is also known for his very rich orchestrations and harmonies, and especially for his use of the Leitmotif, a term for a recurring musical theme that identifies a specific character, place, emotion or idea.

Wagner would go on to become one of the most important composers in the history of music, but even more than that, his work affected the entire subsequent history of art, with many examples of literature, poetry, fine art, and eventually even cinema, showing the unmistakable signs of Wagner’s vast artistic influence.

MONUMENTAL CAMPAIGN


The extraordinary generosity of our subscribers and donors has made this first Parsifal possible. To see how you can play a part and enjoy a special suite of benefits to further enhance your experience, click here.

PERFORMANCE DATES

Parsifal (September 25 – October 18, 2020)

Friday, September 25, 2020 | 6 p.m.
Sunday, September 27, 2020 | 2 p.m.
Saturday, October 3, 2020 | 6 p.m.
Sunday, October 4, 2020 | 2 p.m.
Friday, October 9, 2020 | 6 p.m.
Saturday, October 17, 2020 | 4:30 p.m.
Sunday, October 18, 2020 | 4:30 p.m.

  • Sung in German with English SURTITLESTM


    CAST AND CREATIVE TEAM

    Conductor: Johannes Debus
    Director: François Girard
    Set Designer: Michael Levine
    Costume Designer: Thibault Vancraenenbroeck
    Lighting Designer: David Finn
    Video Designer: Peter Flaherty
    Choreographer: Carolyn Choa
    Price Family Chorus Master: Sandra Horst


    Parsifal: Christopher Ventris/Viktor Antipenko*
    Amfortas: Johan Reuter
    Kundry: Tanja Ariane Baumgartner
    Klingsor: Robert Pomakov
    Gurnemanz: Mika Kares/David Leigh*
    Titurel: David Leigh/Vartan Gabrielian*
    First Knight of the Grail: Owen McCausland
    Second Knight of the Grail: Vartan Gabrielian

    *Oct. 4 & 17

    With the COC Orchestra and Chorus

    Co-production with the Metropolitan Opera and Opéra national de Lyon



  • Plot in a Minute 

    The knights who protect the Holy Grail enlist the help of a young man, Parsifal, who has been prophesied to help them reclaim the Holy Spear, and to help heal their ailing leader, Amfortas. Parisfal goes up against a powerful sorcerer, a bewitching seductress and ravishing Flower Maidens on his quest.


    Synopsis 

    ACT I

    Near the sanctuary of the Holy Grail, the old knight Gurnemanz and two sentries wake and perform their morning prayers, while other knights prepare a bath for their ailing ruler Amfortas, who suffers from an incurable wound. Suddenly, Kundry—a mysterious, ageless woman who serves as the Grail’s messenger—appears. She has brought medicine for Amfortas. The knights carry in the king. He reflects on a prophecy that speaks of his salvation by a “pure fool, enlightened by compassion,” then is borne off. When the esquires ask about Klingsor, a sorcerer who is trying to destroy the knights of the Grail, Gurnemanz tells the story of Amfortas’s wound: The Holy Grail—the cup from which Christ drank at the Last Supper—and the Spear that pierced his body on the cross were given into the care of Titurel, Amfortas’s father, who assembled a company of knights to guard the relics. Klingsor, wishing to join the brotherhood, tried to overcome his sinful thoughts by castrating himself, but the brotherhood rejected him. Seeking vengeance, he built a castle across the mountains with a magic garden full of alluring women to entrap the knights. Amfortas set out to defeat Klingsor, but was himself seduced by a terribly beautiful woman. Klingsor stole the Holy Spear from Amfortas and used it to stab him. The wound can only be healed by the innocent youth of which the prophecy has spoken. Suddenly, a swan plunges to the ground, struck dead by an arrow. The knights drag in a young man, who boasts of his archery skills. He is ashamed when Gurnemanz rebukes him, but he cannot explain his violent act or even state his name. All he remembers is his mother, Herzeleide, or “Heart’s Sorrow.” Kundry tells the youth’s history: His father died in battle, and his mother reared the boy in a forest, but now she too is dead. Gurnemanz leads the nameless youth to the banquet of the Grail, wondering if he may be the prophecy’s fulfillment.

    The knights assemble in the Hall of the Grail. Titurel bids Amfortas uncover the Grail to give strength to the brotherhood, but Amfortas refuses: The sight of the chalice increases his anguish. Titurel orders the esquires to proceed, and the chalice casts its glow about the hall. The nameless youth watches in astonishment but understands nothing. The ceremony ended, Gurnemanz, disappointed and angry, drives him away as an unseen voice reiterates the prophecy.

    ACT II

    At his bewitched fortress, Klingsor, the necromancer, summons Kundry—who, under his spell, is forced to lead a double existence—and orders her to seduce the young fool. Having secured the Spear, Klingsor now seeks to destroy the youth, whom he knows can save the knights of the Grail. Hoping for redemption from her torment, Kundry protests in vain.

    The nameless youth enters Klingsor’s enchanted garden. Flower maidens beg for his love, but he resists them. The girls withdraw as Kundry, transformed into a beautiful young woman, appears and addresses him by his name—Parsifal. He realizes that his mother once called him so in a dream. Kundry begins her seduction by revealing memories of Parsifal’s childhood and finally kisses him. Parsifal suddenly feels Amfortas’s pain and understands compassion: He realizes that it was Kundry who brought about Amfortas’s downfall and that it is his mission to save the brotherhood of the Grail. Astonished at his transformation, Kundry tries to arouse Parsifal’s pity: She tells him of the curse that condemns her to lead an unending life of constantly alternating rebirths ever since she laughed at Christ on the cross. But Parsifal resists her. She curses him to wander hopelessly in search of Amfortas and the Grail and calls on Klingsor for help. The magician appears and hurls the Holy Spear at Parsifal, who miraculously catches it, causing Klingsor’s realm to perish.

    ACT III

    Gurnemanz, now very old and living as a hermit near the Grail’s sanctuary, finds the penitent Kundry in the forest and awakes her from a deathlike sleep. An unknown knight approaches, and Gurnemanz soon recognizes him as Parsifal, bearing the Holy Spear. Parsifal describes his years of wandering, trying to find his way back to Amfortas and the Grail. Gurnemanz tells him that he has come at the right time: Amfortas, longing for death, has refused to uncover the Grail. The brotherhood is suffering, and Titurel has died. Kundry washes Parsifal’s feet, and Gurnemanz blesses him and proclaims him king. As his first task, Parsifal baptizes Kundry. He is struck by the beauty of nature around them, and Gurnemanz explains that this is the spell of Good Friday. The distant tolling of bells announces the funeral of Titurel, and the three make their way to the sanctuary.

    Knights carry the Grail, Amfortas, and Titurel’s coffin into the Hall of the Grail. Amfortas is unable to perform the rite. He begs the knights to kill him and thus end his anguish—when suddenly Parsifal appears. He touches Amfortas’s side with the Spear and heals the wound. Uncovering the Grail, he accepts the homage of the knights as their redeemer and king and blesses them. The reunion of the Grail and Spear has enlightened and rejuvenated the community.

    Used with permission from the Metropolitan Opera 




  • (Top to bottom): Scenes from the Metropolitan Opera’s production of Parsifal, 2013, photos: Ken Howard




  • Wagner’s Parsifal. Herbert von Karajan, conductor, with the Berliner Philharmoniker, 1981. Deutsche Grammophon

  • RICHARD WAGNER (1813 – 1883)

    Composer and Librettist 

    Composer Richard Wagner was born in Leipzig, Germany. After an initial interest in literature, he began to study music in earnest in 1828. His first operatic successes were with Rienzi (1842), Der fliegende Holländer (The Flying Dutchman, 1843), Tannhäuser (1845) and Lohengrin (1850), for which he wrote both the music and the librettos.  

    In 1848, Wagner began work on music that – 26 years later – would premiere as his mammoth Der Ring des Nibelungen (Ring Cycle), a 17-hour retelling of the Norse sagas, and the most monumental operatic work ever written. With the support of the teenage of King of Bavaria,  a fervent admirer, Wagner was able to premiere Tristan und Isolde (1865) and Die Meistersinger von Nürnberg (1868), and to build the Bayreuth Festival Theatre, designed to accommodate the large orchestras his operas required, and the particular technical demands of his productions. The theatre opened in 1876 with the first production of the full Ring Cycle. His last opera was Parsifal which premiered in 1882.

    Wagner greatly changed the face of opera with his aesthetic concept of Gesamtkunstwerk (“total work of art”). In this concept, music and words are seamlessly integrated, and various art forms are combined for maximum expressive effect. Mythology, philosophy, dance, architecture, as well as the visual and plastic arts, would all be synthesized and absorbed into a unified, complete, multimedia experience. While this concept is taken for granted now, at the time it was revolutionary.  He is also known for his very rich orchestrations and harmonies, and especially for his use of the Leitmotif, a term for a recurring musical theme that identifies a specific character, place, emotion or idea.

    Wagner would go on to become one of the most important composers in the history of music, but even more than that, his work affected the entire subsequent history of art, with many examples of literature, poetry, fine art, and eventually even cinema, showing the unmistakable signs of Wagner’s vast artistic influence.


  • The extraordinary generosity of our subscribers and donors has made this first Parsifal possible. To see how you can play a part and enjoy a special suite of benefits to further enhance your experience, click here.

  • Parsifal (September 25 – October 18, 2020)

    Friday, September 25, 2020 | 6 p.m.
    Sunday, September 27, 2020 | 2 p.m.
    Saturday, October 3, 2020 | 6 p.m.
    Sunday, October 4, 2020 | 2 p.m.
    Friday, October 9, 2020 | 6 p.m.
    Saturday, October 17, 2020 | 4:30 p.m.
    Sunday, October 18, 2020 | 4:30 p.m.


2020/2021 season creative: BT/A

Four Seasons Centre for the Performing Arts capacity: 2,070
Ticket prices do not include service fees, $9 CAD.

Parsifal

R. Wagner
To

Four Seasons Centre for the Performing Arts

Performance Length: 5 hours and 45 minutes, including two intermissions


#ParsifalCOC


What makes Parsifal so special?

As the first Parsifal in the COC’s history, this production is a major landmark for opera in Canada and a rare chance for audiences to immerse themselves in Richard Wagner’s final work.

Director François Girard transports Wagner’s Knights of the Holy Grail into our potential future: a post-apocalyptic world that has been brutally wounded by climate change and societal division.

Equal parts epic saga, poetic meditation, and sublime musical experience, Parsifal is an invitation for us to find a way to heal during our own challenging times.


“This Parsifal will be the stuff of legend for decades to come.”

– Opera Today

Phone: 416-363-8231

Toll Free: 1-800-250-4653

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