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IOL (South Africa), April 9 2013 |
By Paul Boekkooi |
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Wagner: Parsifal, Metropolitan Opera, 2 March 2013 (Kino) |
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A modern vision of salvation
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RATING: ***** |
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A specific purity and spirituality breathes through Wagner’s final opera,
Parsifal. In its extended Prelude two principal themes are depicted:
religious duties and the sadness brought about by Amfortas’s sinful
forgetfulness of them.
In allegorical terms it also depicts the
triumph of Christianity over paganism.
But, alas, it is not all that
simple. Parsifal is ambiguous, metaphysical, profound and mostly
inexpressible.
This leaves a wide range of possibilities open to the
director to enlighten his audience on the rich legacy of myths and symbolism
in this morality drama. Canadian François Girard resets the medieval story
in a parched landscape (post-apocalyptic perhaps?), reminding us of TS
Eliot’s Wasteland.
However, in Girard’s vision every movement on
stage develops from the musical impulse, while the theme of spiritual
redemption started to shine brighter as the storyline evolved.
Daniele Gatti’s conducting, a trifle stodgy in Act 1, grows with intensity
and feeling with the work itself, while in Act 3 there is rather more
transcendent spirituality than adrenaline surges in the playing.
What makes this Parsifal a must-see is the once-in-a-lifetime cast.
Jonas Kaufmann has everything going for him in the title role. His dynamic
but steady voice throughout his impressive range gives him total control in
depicting the character’s anguish and eventual serenity in this sincere,
inward interpretation.
Kaufmann still looks and acts like a stubborn
teenager in Act 1, but overwhelms at the moment of truth in Act 2.
René Pape as Gurnemanz is more than an exemplar of sonorous
tone, admirable power, steadiness and meaningful articulation, but his often
forceful presence also resonates with a poetic vision.
Peter Mattei
as the wounded King Amfortas brings a well-rounded character to the stage.
His anguishing is detailed and intense, but it is especially on a vocal
level that he brings strength and nobleness to the character.
Katarina Dalayman’s voice as Kundry is carefully nurtured. She only remotely
demonstrates a couple of rough patches in her high register. Her
characterisation of the only prominent female in the opera is filled with
unusual touches.
Evgeny Nikitin is the epitome of malice as the evil
wizard Klingsor.
The bloody second act, in which thousands of litres
of fake blood are used, soiling the long white dresses of the sexually
charged ninja-like maidens who protect Klingsor, does make its mark. It
might well have overpowered the sensibilities of Wagner traditionalists.
The Met Chorus – men in Act 1, women in Act 2, and both in Act 3 – is
once again of superb vintage. The former’s urgent pleading for the Grail to
be uncovered is something to wonder at.
There is a healing balm
uncovered in the final scenes of this Parsifal. It is found in the symbolism
of Girard’s vision. It’s not related to women’s lib, but rather to the
male-female duality of all creation. It is one of many possible sources of
salvation found within the subtext of this opera.
This Parsifal is
the bright star among the Metropolitan Opera’s Wagner productions.
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Screening at all Cinema Nouveau and selected Ster-Kinekor theatres.
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