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contained therein may
Titurel himself, now aged and very feeble, live on. Amfortas is overcome with shame and suffering ("Wehvolles Erbe, dem ich verfallen"). He, the chosen guardian of the holiest of relics, has succumbed to sin and lost the Holy Spear, suffering an ever-bleeding wound in the process; uncovering the Grail causes him great pain. The young man appears to suffer with him, clutching convulsively at his heart. The knights and Titurel urge Amfortas to reveal the Grail ("Enthüllet den Gral!"), and he finally does. The dark hall is illuminated by its radiant light and the round table of the knights is miraculously filled with wine and bread. Slowly all the knights and squires disappear, leaving Gurnemanz and the youth alone. Gurnemanz asks the youth if he has understood what he has seen. As the boy is unable to answer the question, Gurnemanz dismisses him as just an ordinary fool after all and angrily exiles him from the realm with a warning to let the swans in the Grail Kingdom live in peace.
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1401:), 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. Kundry tells him that this realization is a first sign of understanding and that, with a kiss, she can help him understand the love that had once united his parents, wanting thus to awake in Parsifal the first pangs of desire. However, as she kisses Parsifal, the youth suddenly recoils in pain and cries out Amfortas' name: having just felt for the first time material desire with Kundry's kiss, Parsifal finds himself in the same position in which Amfortas had been seduced and he feels the wounded king's pain and suffering of evil and sin burning in his own soul. Only now does Parsifal understand Amfortas' passion during the Grail Ceremony (
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Klingsor and has fallen under his yoke. The curse condemns her to never be able to die and find peace and redemption. She cannot weep, only jeer diabolically. Longing for deliverance, she has been waiting for ages for a man to free her from her curse and yearns to once more meet the
Saviour's forgiving gaze, but her search for her redeemer in the end only ever turns into a desire to find her salvation in earthly desire with those who fall for her charms. All her penitent endeavours eventually transform into a renewed life of sin and a continued unredeemed existence in bondage to Klingsor. When Parsifal still resists her, Kundry curses him through the power of her own accursed being to wander without ever finding the Kingdom of the Grail again, and finally calls on her master Klingsor to help her.
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1998:). Wagner first suggested that Levi should convert to Christianity, which Levi declined to do. Wagner then wrote to King Ludwig that he had decided to accept Levi despite the fact that (he alleged) he had received complaints that "of all pieces, this most Christian of works" should be conducted by a Jew. When the King expressed his satisfaction at this, replying that "human beings are basically all brothers", Wagner wrote to the king angrily: "If I have friendly and sympathetic dealings with many of these people, it is only because I consider the Jewish race as the born enemy of pure humanity and all that is noble about it (sic)". Seventy-one years later, the Jewish bass-baritone
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subsequent performances some believed that Wagner had wanted no applause until the very end, and there was silence after the first two acts. Eventually it became a
Bayreuth tradition that no applause would be heard after the first act, but this was certainly not Wagner's idea. In fact, during the first Bayreuth performances, Wagner himself cried "Bravo!" as the flowermaidens made their exit in the second act, only to be hissed by other members of the audience. At some theatres other than Bayreuth, applause and curtain calls are normal practice after every act. Program notes until 2013 at the Metropolitan Opera in New York asked the audience not to applaud after act 1.
1527:). He touches Amfortas' side with the Holy Spear and both heals the wound and absolves him from sin. The spear, now reunited with the Holy Grail, starts to bleed with the same divine blood that is contained within the sacred chalice. Extolling the virtue of compassion and blessing Amfortas' suffering for making a pure fool knowing, Parsifal replaces Amfortas in his kingly office and orders to unveil the Grail, which is never to be hidden again. As the Grail glows ever brighter with light and a white dove descends from the top of the dome and hovers over Parsifal's head, a
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1521:). The knights desperately urge Amfortas to keep his promise and at least once more, for the very last time uncover the Grail again, but Amfortas, in a frenzy, says he will never again show the Grail, as doing so would just prolong his unbearable torment. Instead, he commands the knights to kill him and end with his suffering also the shame he has brought on the brotherhood. At this moment, Parsifal appears and declares only one weapon can help here: only the same spear that inflicted the wound can now close it (
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1392:), yet the boy in his childlike innocent naïveté doesn't comprehend their temptations and shows only little interest in them. The flowermaidens soon fight and bicker among themselves to win his devotion, to the point that he is about to flee, but a different voice suddenly calls out "Parsifal!". The youth finally 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.
1934:) hero who overcomes Klingsor, who is perceived as a Jewish stereotype, particularly since he opposes the quasi-Christian knights of the Grail. Such claims remain heavily debated, since there is nothing explicit in the libretto to support them. Wagner never mentions such ideas in his many writings, and Cosima Wagner's diaries, which relate in great detail Wagner's thoughts over the last 14 years of his life (including the period covering the composition and first performance of
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opera, and find correspondences with antisemitic passages found in Wagner's writings and articles of the period, while others deny such claims, seeing for example the opposition between the realm of the Grail and
Klingsor's domain as portraying a conflict between the sphere embodying the world-view of Wagner's Schopenhauerian Christianity and a pagan sphere more generally.
1811:, the enjoying of the suffering of another living being; it is precisely this sin of which Kundry is guilty when she maliciously laughs in mocking pride at the sufferings of the Redeemer and as a result of which she falls under Klingsor's curse (recounted in act 2, scene 2), broken only at the moment when she is again capable to weep and thus express compassion during the
1797:, and overcoming sexual temptation is in particular a strong form of negation of the Will. Schopenhauer also claims that compassion should be extended to non-human sentient beings as well, supporting this claim by the lives of Christian saints and mystics and the Indian religions of Hinduism and Buddhism. This worldview finds in
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he imagined that the stage decorations were still to come. Knappertsbusch was particularly upset by the omission of the dove that appears over
Parsifal's head at the end of the opera, which he claimed inspired him to give better performances. To placate his conductor Wieland arranged to reinstate the
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The
Bayreuth authorities allowed unstaged performances to take place in various countries after Wagner's death (London in 1884, New York City in 1886, and Amsterdam in 1894) but they maintained an embargo on stage performances outside Bayreuth. On 24 December 1903, after receiving a court ruling that
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exclusively for the
Bayreuth stage. First, he wanted to prevent it from degenerating into 'mere amusement' for an opera-going public. Only at Bayreuth could his last work be presented in the way envisaged by him—a tradition maintained by his wife, Cosima, long after his death. Second, he thought that
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Klingsor appears on the castle rampart and hurls the Holy Spear at
Parsifal to destroy him. He seizes the spear in his hand and makes with it the sign of the Cross, banishing Klingsor's dark sorcery. The whole castle with Klingsor himself suddenly sinks as if by terrible earthquake and the enchanted
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staged the complete opera, using many
Bayreuth-trained singers. Cosima barred anyone involved in the New York production from working at Bayreuth in future performances. Unauthorized stage performances were also undertaken in Amsterdam in 1905, 1906 and 1908. There was a performance in Buenos Aires,
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was also present in 1883 and he wrote to a friend; "I can hardly describe my present state to you. When I came out of the
Festspielhaus, completely spellbound, I understood that the greatest and most painful revelation had just been made to me, and that I would carry it unspoiled for the rest of my
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gave his opinion that "The Third act may be counted the most unified and the most atmospheric. It is not the richest musically," going on to note "And Wagner's creative powers? For a man of his age and his method they are astounding ... It would be foolishness to declare that Wagner's fantasy, and
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The second draft was begun on 25 September 1877, just a few days after the first; at this point in his career Wagner liked to work on both drafts simultaneously, switching back and forth between the two so as not to allow too much time to elapse between his initial setting of the text and the final
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in the work. However, a number of orchestral excerpts from the opera were arranged by Wagner himself, and remain in the concert repertory. The prelude to act 1 is frequently performed either alone or in conjunction with an arrangement of the "Good Friday" music which accompanies the second half of
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and Max Nordbeck, present at the world premiere, noted in their reviews how the work accorded with Wagner's anti-Jewish sentiments. Similar interpretive conflict continues even today; some of the more recent commentators continue to highlight the perceived antisemitic or anti-Judaic nature of the
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had already been completed by 1877, and the original drafts of the story even date back to 1857. Besides the question of chronology, an eventual meeting in person between Wagner and Gobineau was also accompanied by mutual disagreements and quarrels; e.g., on 3 June 1881 Wagner is reported to have
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as Wagner's last great espousal of Schopenhauerian philosophy. Parsifal can heal Amfortas and redeem Kundry because he shows compassion, which Schopenhauer saw as the highest manifestation of human morality. Moreover, Parsifal displays compassion in the face of sexual temptation (act 2, scene 2);
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The voice of the retired king Titurel resounds from a vaulted crypt in the background, demanding that his son Amfortas uncover the Grail and serve his kingly office ("Mein Sohn Amfortas, bist du am Amt?"). Only through the immortality-conferring power of the sacred chalice and the Saviour's blood
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Parsifal enters, carrying a swan which he has killed. Shocked, Gurnemanz speaks sternly to the lad, saying that this land is a holy place, not to be defiled by murder. Remorsefully the young man breaks his bow in agitation and casts it aside. Kundry tells him that she has seen that his mother has
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I awoke to find the sun shining brightly for the first time in this house: the little garden was radiant with green, the birds sang, and at last I could sit on the roof and enjoy the long-yearned-for peace with its message of promise. Full of this sentiment, I suddenly remembered that the day was
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because of what many scholars see as the presence of themes such as compassion, Schopenhauerian negation of the will, renunciation of desires, asceticism and even non-violence and anti-militarism in the work's libretto. Some of the Nazi officials and leaders may have had certain doubts about the
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Furious that her ploy has failed, Kundry tells Parsifal that if he can feel compassion for Amfortas, then he should also be able to feel it for her. In a distant past, she saw the Redeemer and mockingly laughed at His pains in malice. As a punishment for this sin she has been cursed and bound by
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Kundry arrives in a frenzy, with soothing balsam from Arabia. The squires eye Kundry with mistrust and question her. They believe Kundry to be an evil pagan witch. Gurnemanz restrains them and defends her. He relates history of Amfortas and the spear; it was stolen from him by the failed knight
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R today recalled the impression which inspired his "Good Friday Music"; he laughs, saying he had thought to himself, "In fact it is all as far-fetched as my love affairs, for it was not a Good Friday at all – just a pleasant mood in Nature which made me think, 'This is how a Good Friday ought to
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The scene takes place many years later. Gurnemanz is now aged and bent, living alone as a hermit. It is Good Friday. He hears moaning near his hut and finds Kundry lying unconscious in the brush, similarly as he had many years before ("Sie! Wieder da!"). He revives her using water from the Holy
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dove, which descended on a string. What Knappertsbusch did not realise was that Wieland had made the length of the string long enough for the conductor to see the dove, but not for the audience. Wieland continued to modify and refine his Bayreuth production of Parsifal until his death in 1966.
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until the end of the performance. This confused the audience, who remained silent at the end of the opera until Wagner addressed them again, saying that he did not mean that they could not applaud. After the performance Wagner complained, "Now I don't know. Did the audience like it or not?" At
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At Bayreuth performances audiences do not applaud at the end of the first act. This tradition is the result of a misunderstanding arising from Wagner's desire at the premiere to maintain the serious mood of the opera. After much applause following the first and second acts, Wagner spoke to the
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again and made a prose draft of the work; this contains a fairly brief outline of the plot and a considerable amount of detailed commentary on the characters and themes of the drama. But once again the work was dropped and set aside for another eleven and a half years. During this time most of
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was published in 1882) named, wrote about and made references to these motifs, and they were highlighted in piano arrangements of the score. Wagner's own reaction to such naming of motifs in the score was one of disgust: "In the end people believe that such nonsense happens by my suggestion."
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affecting nature and humanity's relation towards nature (act 3, scene 1). Wagner himself in his older age became an advocate of vegetarianism and an opponent of vivisection, participating in an anti-vivisectionist petition to the Reichstag in 1879; he also professed what might be called early
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he presented a radical move away from literal representation of the hall of the Grail or the flowermaiden's bower. Instead, lighting effects and the bare minimum of scenery were used to complement Wagner's music. This production was heavily influenced by the ideas of the Swiss stage designer
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have explored the importance of certain pitches and harmonic progressions both in structuring and symbolizing the work. The unusual harmonic progressions in the leitmotifs which structure the piece, as well as the heavy chromaticism of act 2, make it a difficult work to parse musically.
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this season was, from the purely musical point of view, as far as the principal singers were concerned, simply an abomination. The bass howled, the tenor bawled, the baritone sang flat and the soprano, when she condescended to sing at all and did not merely shout her words, screamed..."
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Spring, but she will only speak the word "serve" ("Dienen"). Looking into the forest, Gurnemanz sees a figure approaching, armed and in full armour. The stranger removes his helmet and Gurnemanz recognizes the lad who shot the swan; to his amazement the knight also bears the Holy Spear.
390:, I had never occupied myself again with that poem; now its noble possibilities struck me with overwhelming force, and out of my thoughts about Good Friday I rapidly conceived a whole drama, of which I made a rough sketch with a few dashes of the pen, dividing the whole into three acts.
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cast ever conducted by Knappertsbusch. Pierre Boulez (1971) and James Levine (1985) have also made recordings of the opera at Bayreuth that were released on Deutsche Grammophon and Philips. The Boulez recording is one of the fastest on record, and the Levine one of the slowest.
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Despite this attack on the subject matter, he also admitted that the music was sublime: "Moreover, apart from all irrelevant questions (as to what the use of this music can or ought to be) and on purely aesthetic grounds; has Wagner ever done anything better?" (Letter to
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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 freed from guilt through purifying suffering, and proclaims him the foretold new king of the knights of the Grail.
628:. The production boasted an orchestra of 107, a chorus of 135 and 23 soloists (with the main parts being double cast). At the last of these performances, Wagner took the baton from Levi and conducted the final scene of act 3 from the orchestral interlude to the end.
2506:. The film exists in two versions: (1) a complete version running 116 minutes and officially approved by Domingo, and (2) an 88-minute version, with cuts of passages regarded by the German distributor as being too "political", "uncomfortable", and "irrelevant".
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did not make the offensive impression on me that others and I had been led to expect from reading the libretto. They are religious situations – but for all their earnest dignity they are not in the style of the church, but completely in the style of the opera.
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its expression in the holy status of animals within the Kingdom of the Grail, in the schocked response to Parsifal's "murder" of the swan (act 1, scene 1), which awakens in the youth the first unaware throb of compassion, or in Gurnemanz's "sermon" about the
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conducted excerpts from the opera at Bayreuth. These are still considered some of the best performances of the opera on disc. They also contain the only sound evidence of the bells constructed for the work's premiere, which were melted down for scrap during
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there is a hermit named Gurnemanz who stands on the stage in one spot and practices by the hour, while first one and then another of the cast endures what he can of it and then retires to die." Performance standards may have contributed to such reactions;
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and gongs. However, the bell was used with the tuba, four tam-tams tuned to the pitch of the four chime notes and another tam-tam on which a roll is executed by using a drumstick. In modern-day performances, the Parsifal bell has been replaced with
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Gurnemanz's squires ask how it is that he knew Klingsor. Gurnemanz tells them that Klingsor was once a respected knight, but, unable to cleanse himself of sin, castrated himself in an effort to attain purity, but instead became an evil monstrosity.
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When religion becomes artificial, art has a duty to rescue it. Art can show that the symbols which religions would have us believe literally true are actually figurative. Art can idealize those symbols, and so reveal the profound truths they
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after World War II. These historic performances were recorded and are available on the Teldec label in mono sound. Knappertsbusch recorded the opera again for Philips in 1962 in stereo, and this release is often considered to be the classic
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found that: "The flowermaidens' costumes showed extraordinary lack of taste, but the singing was incomparable... When the curtain had been rung down on the final scene and we were walking down the hill, I seemed to hear the words of
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was regarded by Wagner as little more than a routine task which could be done whenever he found the time. The prelude of act 1 was scored in August 1878. The rest of the opera was scored between August 1879 and 13 January 1882.
1738:(the Grail, the spear, references to the Redeemer) together with its restriction to Bayreuth for almost 30 years sometimes led to performances being regarded almost as a religious rite. However, Wagner never actually refers to
534:) was the final stage in the compositional process. It was made in ink and consisted of a fair copy of the entire opera, with all the voices and instruments properly notated according to standard practice. Wagner composed
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Within the Castle of the Grail, Titurel's funeral is to take place. Mourning processions of knights bring the deceased Titurel in a coffin and the Grail in its shrine, as well as Amfortas on his litter, to the Grail hall
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is a work of perfidy, of vindictiveness, of a secret attempt to poison the presuppositions of life – a bad work. The preaching of chastity remains an incitement to anti-nature: I despise everyone who does not experience
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created a "complex, tortured Kundry in Wieland Wagner's revolutionary production of Parsifal during the festival's first postwar season", and would remain the company's exclusive Kundry for the remainder of the decade.
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I have ever seen and heard, but one of the three or four most moving spiritual experiences of my life". Others were appalled that Wagner's stage directions were being flouted. The conductor of the 1951 production,
1543:). Kundry, also at the very last released from her curse and redeemed, slowly sinks lifeless to the ground with her gaze resting on Parsifal, who raises the Grail in blessing over the worshipping knighthood.
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motivated by the "will to nothingness," as opposed to the self-affirming and earthly master morality of pre-Christian ruling classes and the strong motivated by the "will to power." An extended critique of
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is a recurring musical theme within a particular piece of music, associated with a particular character, object, event or emotion. Wagner is the composer most often associated with leitmotifs, and
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to see the work. Stravinsky was repulsed by the "quasi-religious atmosphere" of the festival. Stravinsky's repulsion is speculated to be due to his agnosticism, of which he recanted later in life.
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was not performed at Bayreuth during World War II, a significant omission in view of the fact that the work, with the exception of one year, had been an annual fixture of the Festival since 1882.
509:) was made in ink and on at least three, but sometimes as many as five, staves. This draft was much more detailed than the first and contained a considerable degree of instrumental elaboration.
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Klingsor's castle and enchanted garden. Waking her from her sleep, Klingsor conjures up Kundry, now transformed into an incredibly alluring woman. He calls her by many names: First Sorceress (
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The work may indeed have been conceived at Wesendonck's cottage in the last week of April 1857, but Good Friday that year fell on 10 April, when the Wagners were still living at Zeltweg 13 in
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2054:, particularly about what he called its "Christian mystical style". Despite this, there were in fact 26 performances at the Bayreuth Festival between 1934 and 1939 and 23 performances at the
1938:) never mention any such intention. Having met Gobineau for the first time very briefly in 1876, it was nonetheless only in 1880 that Wagner read Gobineau's essay. However, the libretto for
1370:, Gundryggia and, lastly, Kundry. She mocks his self-castrated condition but cannot resist his power. He resolves to send her to seduce Parsifal and ruin him as she ruined Amfortas before.
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The youth walks into 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 (
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262:(a sacred festival stage play). At Bayreuth a tradition has arisen that audiences do not applaud at the end of the first act. The autograph manuscript of the work is preserved in the
1621:, visiting the Festival in 1894, said: "Nothing in the world has made so overwhelming an impression on me. All my innermost heart-strings throbbed... I cannot begin to tell you how
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specifically his musical invention, has retained the freshness and facility of yore. One cannot help but discern sterility and prosaicism, together with increasing longwindedness."
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Gurnemanz wonders if Parsifal might be the predicted "pure fool"; he invites Parsifal to witness the Ceremony of the Uncovering of the Grail, which renews the knights' immortality.
641:) during the transition from scene 1 to scene 2 in act 1 meant that Wagner's existing orchestral interlude finished before Parsifal and Gurnemanz arrived at the hall of the Grail.
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performances of 1882 were artistic events of supreme interest and it is my pride and joy that I participated in them." Many contemporary composers shared Weingartner's opinion.
645:, who was assisting the production, provided a few extra bars of music to cover this gap. In subsequent years this problem was solved and Humperdinck's additions were not used.
2120:. These two, and Parsifal's own motif, are repeated during the course of the opera. Other characters, especially Klingsor, Amfortas, and "The Voice", which sings the so-called
2100:(any more than he did in any other of his scores), although his wife Cosima mentions statements he made about some of them in her diary. However, Wagner's followers (notably
775:, the venue for which Wagner conceived the work (except eight private performances for Ludwig II at Munich in 1884 and 1885). Wagner had two reasons for wanting to keep
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Wagner conceived the work in April 1857, but did not finish it until 25 years later. In composing it he took advantage of the particular acoustics of his newly built
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suburb of Enge, which Wesendonck – a wealthy silk merchant and generous patron of the arts – had placed at Wagner's disposal, through the good offices of his wife
1254:, an elder knight of the Grail, wakes his young squires and leads them in morning prayer ("He! Ho! Waldhüter ihr"). Their king, Amfortas, has been stabbed by the
460:. By 23 February 1877 he had completed a second and more extensive prose draft of the work, and by 19 April of the same year he had transformed this into a verse
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The related question of whether the opera contains a specifically antisemitic message is also debated. Some of Wagner's contemporaries and commentators (e.g.
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The bells that draw the knights to the Grail ceremony at Monsalvat in acts 1 and 3 have often proved problematic to stage. For the earlier performances of
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was accurately dated (and most of Wagner's surviving papers are dated), it could settle the issue once and for all, but unfortunately it has not survived.
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twice. He emerged overwhelmed: "Colossal – Wagner's most inspired, sublimest creation." He reiterated this view in a postcard from Bayreuth in 1883: "
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thought the characters and plot ludicrous, but nevertheless in 1903 wrote that musically it was: "Incomparable and bewildering, splendid and strong.
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Parsifal wonders if the whole Garden is but a dream and asks how it is that Kundry knows his name. Kundry tells him she learned it from his mother (
808:. Some opera houses began their performances at midnight between 31 December 1913 and 1 January. The first authorized performance was staged at the
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should really be withheld from all theatres and limited to... Bayreuth was naturally on all tongues... I must state here that the church scenes in
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marked a weakening of Wagner's abilities, many others saw the work as a crowning achievement. The famous critic and Wagner's theoretical opponent
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In September 1877 he began the music by making two complete drafts of the score from beginning to end. The first of these (known in German as the
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was sponsoring the production, much of the orchestra was drawn from the ranks of the Munich Opera, including the conductor. Wagner objected to
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as the ground for his breach with Wagner. Nietzsche took the work as an exemplar of the self-denying, life-denying, and otherworldly Christian
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and recommended the recording by the Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelik (conductor), as the best available choice.
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1943:"exploded in favour of Christian theories in contrast to racial ones". Despite this, Gobineau is sometimes cited as an inspiration for
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environmentalist sentiments. As the exact opposite of compassion and therefore as the ultimate moral evil Schopenhauer sees the act of
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Schopenhauerian philosophy suggests that the only escape from the ever-present temptations of human life is through negation of the
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anything that might with confidence be called rhythm or tune or melody... Singing! It does seem the wrong name to apply to it... In
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by name in the opera, only to "The Redeemer". In his essay "Religion and Art", Wagner described the use of Christian imagery thus:
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Good Friday, and I called to mind the significance this omen had already once assumed for me when I was reading Wolfram's
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the opera would provide an income for his family after his death if Bayreuth had the monopoly on its performance.
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to produce the desired notes. The thunder machine is used in the moment of the destruction of Klingsor's castle.
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Thorau, Christian (2009). "Guides for Wagnerites: leitmotifs and Wagnerian listening". In Thomas S. Grey (ed.).
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in August 1876. Only when this gargantuan task had been accomplished did Wagner find the time to concentrate on
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Thematic Guide Through the Music of Parsifal: with a preface upon the legendary material of the Wagnerian drama
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is one of the loveliest monuments of sound ever raised to the serene glory of music." He was later to write to
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which Wagner had visited in 1880, while Klingsor's magic garden was modelled on those at the Palazzo Rufolo in
4501:(1996). "Maximally smooth cycles, hexatonic systems, and the analysis of Late-Romantic triadic progressions".
1559:, the first presentation in 1882 was attended by many notable figures. Reaction was varied. Some thought that
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at Bayreuth in the post-war years, and the performances under his baton in 1951 marked the re-opening of the
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and many of the most famous recordings of the opera come from live performances on that stage. In the pre-
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to represent the Grail, this motif being a sequence of notes he would have known since his childhood in
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5223:. A comprehensive website featuring photographs of productions, recordings, librettos, and sound files.
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later reported on 22 April 1879, this account had been colored by a certain amount of poetic licence:
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recording. There are also many "unofficial" live recordings from Bayreuth, capturing virtually every
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875:, on being asked how he could conduct such a disgraceful travesty, declared that right up until the
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makes liberal use of them. Wagner did not specifically identify or name leitmotifs in the score of
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was a student at the time of the 1882 Festival, yet still managed to find money for tickets to see
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by Nora London, volume 9 of the "Great Voices" series, published by Baskerville Publishers, p. 37.
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represents a church-influenced enfeeblement in favour of the value of renunciation". According to
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was composed such that each act was a continuous flow of music; hence there are no free-standing
1869:
1833:("yearning"). Indeed, Wagner originally considered including Parsifal as a character in act 3 of
1784:
in 1854, and this deeply affected his thoughts and practice on music and art. Most writers (e.g.
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that it was presented in more than 50 European opera houses between 1 January and 1 August 1914.
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Parsifal looks about and comments on the beauty of the meadow. Gurnemanz explains that today is
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Zelinsky, Hartmut (1982). "Rettung ins Ungenaue: zu M. Gregor-Dellins Wagner-Biographie". In
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2390:) have been widely praised. The Karajan recording was voted "Record of the Year" in the 1981
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already embodied all the compositional details of the full score, the actual drafting of the
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because he had discovered in the music for it "the ghost of old Klingsor, alias R. Wagner".
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garden withers. As Parsifal leaves, he tells Kundry that she knows where she can find him.
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Wikisource:Selected Letters of Friedrich Nietzsche#Nietzsche To Peter Gast – January, 1887
1891:
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Gurnemanz and the squires, act 1, scene 1, in the 1903 performance of the work in New York
849:
to this day. Among the more significant post-war productions was that directed in 1951 by
592:
On 12 November 1880, Wagner conducted a private performance of the prelude for his patron
312:. The themes of self-renunciation, rebirth, compassion, and even exclusive social groups (
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is an opera, call it a 'stage festival' or 'consecrational stage festival' if you will."
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However, some notable guests of the Festival took a more acerbic view of the experience.
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is without doubt by far the most beautiful and sublime work in the whole field of Art."
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1970:
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612:, who took their lead from Wagner himself. The Grail hall was based on the interior of
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Lohengrin, ein altteutsches Gedicht, nach der Abschrift des Vaticanischen Manuscriptes
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The opening prelude introduces two important leitmotifs, generally referred to as the
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2618:, ed. Joachim Bergfeld, Atlantis Verlag, Zürich and Freiburg im Breisgau 1975, p. 52.
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was written in support of the ideas of the French diplomat and racial theorist Count
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at length, make no mention of any antisemitic interpretations. However the critics
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performances in the United States could not be prevented by Bayreuth, the New York
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The correct spelling of Parzival is Parsi-wal. ... the word means Persian flower.
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as Kundry. She made her unexpected debut in the role in 1912 at the New York Met.
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at the Court Theatre in Munich. The premiere of the entire work was given in the
294:'s writings in 1854, Wagner became interested in Indian philosophies, especially
5255:, gallery of historic postcards with visual motives from Richard Wagner's operas
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Dokumente zur Entstehung und ersten Aufführung des Bühnenweihfestspiels Parsifal
6109:
6064:
6016:
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4968:. Documenta musicologica. Vol. II, 55. Kassel: Bärenreiter. pp. I–X.
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1848:, who was originally a champion of Wagner and Schopenhauer, chose later to use
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4964:(2020). "Through compassion, knowing: the pure fool". In Ulrich Konrad (ed.).
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originally made for Deutsche Grammophon, now reissued on Arts & Archives.
1609:
at Bayreuth I was fifteen. I cried for two weeks and then became a musician."
881:
452:, which was finally completed in 1874 and given its first full performance at
308:, 1856), a sketch Wagner wrote for an opera based on a story from the life of
182:
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3693:(2007). "Strange love; or, How we learned to stop worrying and love Wagner's
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2184:") is occasionally performed in concert, as is Amfortas' lament from act 1 ("
1955:
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Wagner had been greatly impressed with his reading of the German philosopher
1734:
has been both influential and controversial. The use of Christian symbols in
1667:, a committed Wagnerite, commented in 1894 that: "The opening performance of
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1258:, once bequeathed to him into his guardianship, and the wound will not heal.
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For the first twenty years of its existence, the only staged performances of
489:, one for the voices and two for the instruments. The second complete draft (
486:
395:
246:
5085:. Camden House Companion Volumes. New York: Camden House. pp. 277–338.
4639:
Richard Wagners Politische Theologie: Kunst zwischen Revolution und Religion
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1829:, where Schopenhauer's influence is perhaps more obvious, with its focus on
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A dark orchestral interlude leads into the solemn gathering of the knights.
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2016:
1979:
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Gurnemanz singing "Titurel, der fromme Held", excerpt from a 1942 recording
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4441:
Wagner's Parsifal: An Appreciation in the Light of His Theological Journey
2558:
he had used up to 1877 was informed by one of the theories about the name
1654:
visited Bayreuth in 1891: "I was not able to detect in the vocal parts of
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has transported me. Everything I do seems so cold and feeble by its side.
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2124:("Fool's motive"), have their own particular leitmotifs. Wagner uses the
1963:
1785:
1503:
End of act 3 in the original 1882 production (according to a painting by
1466:
1125:
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897:
620:. In July and August 1882 sixteen performances of the work were given in
501:
372:
355:(German: "Asylum"), the small cottage on Otto Wesendonck's estate in the
346:
157:
66:
45:
5258:
5156:
Complete German and English libretti and Wagner's own stage descriptions
1310:: Design for the hall of the Grail (second scenes of acts 1 and 3), 1882
203:
6279:
5960:
5437:
4879:. Princeton, New Jersey: Princeton University Press. pp. 133–150.
4824:
4656:
Kienzle, Ulrike. "Parsifal and Religion: A Christian Music Drama?". In
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died. Parsifal, who cannot remember much of his past, is crestfallen.
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926:
683: in this section. Unsourced material may be challenged and removed.
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Musical introduction to the work with a duration of c. 12–16 minutes.
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Roles, voice types, premiere casts 1882 and 1903 (Metropolitan Opera)
813:
322:, the knights of the Grail in Parsifal) which were later explored in
211:
1861:
opens the third essay ("What Is the Meaning of Ascetic Ideals?") of
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that he had deleted a scene he had just written for his own opera
6443:
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5449:
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3113:
2652:(1932-08-01). "The Persian Origins of 'Parsifal' and 'Tristan'".
2247:
2235:
2223:
2129:
981:
866:, Richard Wagner's biographer described it as "not only the best
617:
4966:
Richard Wagner: Parsifal. Autograph Score. Facsimile. Commentary
4095:
4093:
853:, the composer's grandson. At the first Bayreuth Festival after
5534:
4554:
Fauser, Annegret (2008). "Wagnerism". In Thomas S. Grey (ed.).
4044:
4042:
1909:
6364:
2451:. It was recorded in various European theaters, including the
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a retired king of the Kingdom of the Grail, father to Amfortas
4251:: The Tonal Spaces of the Drama and the Enharmonic Cb/B," in
4090:
3991:
3715:
3647:
3637:
3635:
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1995:
1382:
Scene from Parsifal from the Victrola book of the opera, 1917
958:
313:
4039:
3449:
2941:
2805:
2517:
812:
in Barcelona: it began at 10:30pm Barcelona time, which was
241:
productions until 1903, when the opera was performed at the
6472:
4929:. Vol. 25. Munich: Text & Kritik. pp. 74–115.
4562:. Cambridge: Cambridge University Press. pp. 221–234.
4003:
2902:
2740:
2294:
2263:
2243:
2207:
2174:
1974:
German stamp showing Parsifal with the Grail, November 1933
4672:. Camden House Companion Volumes. New York: Camden House.
4178:
3955:
3931:
3632:
3622:
3620:
3487:
3131:
3048:
2965:
759:
Scene design for the controversial 1903 production at the
4756:
The Wagner Compendium: a Guide to Wagner's Life and Music
3919:
3909:
3907:
3425:
3398:
3262:
3238:
2929:
2467:. It contains extracts from Palmer's stage production of
600:
on 26 July 1882 conducted by the Jewish-German conductor
380:. Since the sojourn in Marienbad , where I had conceived
5178:, Derrick Everett's extensive website on all aspects of
4539:. Berkeley, California: University of California Press.
4203:. Collins, 1980. Entries for 11 August, 5 December 1877.
4066:
3967:
3943:
3828:
3060:
2953:
2767:
2605:
by Ferdinand Gloeckle. Mohr und Zimmer, Heidelberg 1813.
2274:
is one of only two works by Wagner in which he used the
1250:
In a forest near the seat of the Grail and its knights,
237:
in 1882. The Bayreuth Festival maintained a monopoly on
4424:. Oakland, California: University of California Press.
4054:
4027:
3979:
3617:
3347:
3335:
3298:
3286:
3274:
3250:
2919:
2917:
2015:
was denounced as being "ideologically unacceptable" in
1685:
traveled to the Bayreuth Festival at the invitation of
845:
is one of the Wagner operas regularly presented at the
5316:
5172:
by Alunno Marco, mediamusic-journal.com, 26 March 2013
4135:
3904:
3310:
2977:
1994:
being conducted by a Jew (Levi's father was in fact a
4462:. Princeton, New Jersey: Princeton University Press.
3866:
3759:
3605:
3119:
3072:
2890:
2878:
2616:
Das braune Buch. Tagebuchaufzeichnungen 1865 bis 1882
1531:
of all the knights praises the miracle of salvation (
4247:, "Amfortas' Prayer to Titurel and the Role of D in
4078:
3484:, 2nd series, vol. 28, no. 4 (June 1972), pp. 685 f.
3437:
3186:
2914:
2513:
210:, recounting different accounts of the story of the
6419:
5130:
Wagner's autograph in the Richard Wagner Foundation
5077:Syer, Katherine R. (2005). "Parsifal on Stage". In
4898:. Lincoln, Nebraska: University of Nebraska Press.
4706:Kinderman, William. "The Genesis of the Music". In
4255:(New York: Oxford University Press, 2006), 183–200.
4105:
3840:
2735:
What is a Stage-Consecrating Festival-Play, Anyway?
1930:. Parsifal is proposed as the "pure-blooded" (i.e.
5055:
4796:
4719:
440:. Then, between 27 and 30 August 1865, he took up
4860:. New Haven, Connecticut: Yale University Press.
4803:. New Haven, Connecticut: Yale University Press.
4483:. New Haven, Connecticut: Yale University Press.
4386:. Lanham, Maryland: University Press of America.
4258:
3089:
3087:
2761:, "Sinology," Footnote listing books on Buddhism
2409:, music critic David Nice surveyed recordings of
168:for the work is freely based on the 13th-century
6497:
5832:Das Judenthum in der Musik (Jewishness in Music)
3505:
3011:Kiel, Germany, 2012, citing the dissertation by
1537:) and proclaims the redemption of the Redeemer (
519:of act 3 was completed on 16 April 1879 and the
428:for eight years, during which time he completed
6275:List of films using the music of Richard Wagner
6176:
4942:Burbidge, Peter; Sutton, Richard, eds. (1979).
4896:Richard Wagner and the Anti-Semitic Imagination
4601:Richard Wagner: The Man, His Mind and His Music
4582:Richard Wagner: His Life, His Work, His Century
2443:. There is also a 1998 documentary directed by
2349:was the conductor most closely associated with
1759:even at the premiere: "The question of whether
1692:
862:. The reaction to this production was extreme:
789:in the Teatro Coliseo, on June 20, 1913, under
763:: Gurnemanz leads Parsifal to Monsalvat (act 1)
415:. If the prose sketch which Wagner mentions in
3701:. Cambridge University Press. pp. 65–83.
3084:
2562:, according to which it is of Persian origin,
2178:act 3, scene 1. Kundry's long solo in act 2 ("
2152:of late 19th century music. Theorists such as
1885:as an attempted assassination of basic ethics.
1469:, when all the world is purified and renewed.
829:audience and said that the cast would take no
6405:
6265:International Association of Wagner Societies
5876:
5465:
5302:
4780:. Cambridge, UK: Cambridge University Press.
4707:
4664:
4657:
4576:
4405:. Cambridge, UK: Cambridge University Press.
3093:
3024:
2947:
2923:
2811:
2746:
2631:, Königshausen & Neumann, Würzburg 2007,
2370:Amongst other recordings, those conducted by
1908:Some writers see in the opera a promotion of
1815:(act 3, scene 1). When viewed in this light,
5102:Disturbing the Universe: Wagner's Musikdrama
4153:
3884:
3589:
2785:
2498:. In also includes interviews with Domingo,
2407:BBC Radio 3's CD Review – Building a Library
2185:
2179:
2019:and that the Nazis placed a de facto ban on
1714:
1617:in 1909 as "magnificent, overwhelming", and
1538:
1532:
1522:
1516:
1457:as Parsifal in act 3, scene 1, Bayreuth 1889
1402:
1396:
1387:
1361:
1355:
1214:Knights of the Grail, squires, flowermaidens
636:
561:
555:
545:
539:
529:
520:
514:
490:
472:
445:Wagner's creative energy was devoted to the
416:
381:
350:
336:
327:
317:
257:
74:
4212:
3381:
2823:
2050:too had apparently some reservations about
278:Drawing for a libretto cover page (undated)
6412:
6398:
5512:
5472:
5458:
5309:
5295:
4858:Bayreuth: a History of the Wagner Festival
4753:
4641:. Paderborn, Germany: Ferdinand Schöning.
4531:
4457:
4354:. Presto Classical Limited. Archived from
4099:
3997:
3822:
3798:
3721:
3689:
3653:
2935:
2908:
2872:
2773:
1927:Essay on the Inequality of the Human Races
1755:objected to the religious air surrounding
56:
5143:International Music Score Library Project
4705:
4686:
4129:Aufführungen sortiert nach Inszenierungen
4072:
4060:
4048:
3973:
3164:
2691:Unger draws on the abstract of a book by
2394:. Also highly regarded is a recording of
2378:(with the Metropolitan Opera Orchestra),
1823:("compassion") is a natural follow-on to
1398:"Ich sah das Kind an seiner Mutter Brust"
743:Learn how and when to remove this message
4912:
4817:
4617:
4381:
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3778:
3415:
3413:
3404:
3353:
3341:
3304:
3292:
3280:
3268:
3256:
3244:
3192:
3150:Kluge, Andreas (1992). "Parsifal 1951".
2326:was expressly composed for the stage at
2069:
1969:
1696:
1580:'and you can say you were present'. The
1498:
1445:
1434:Musical introduction of c. 4–6 minutes.
1377:
1341:
1334:Musical introduction of c. 2–3 minutes.
1302:
1264:
1241:
903:
892:
837:
754:
635:, problems with the moving scenery (the
569:
464:(or "poem", as Wagner liked to call his
367:had moved into the cottage on 28 April:
273:
4836:
4655:
4636:
4476:
4400:
4021:
3961:
3937:
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3316:
3137:
3078:
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2983:
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2896:
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648:
164:and his last composition. Wagner's own
14:
6498:
4893:
4874:
4855:
4772:
4598:
4553:
4422:Beyond Reason: Wagner contra Nietzsche
4419:
4184:
4141:
3925:
3913:
3872:
3834:
3801:, pp. 245–246, 249, 255, 367–368.
3786:
3611:
3553:
3541:
3431:
3329:
3125:
2169:As is common in mature Wagner operas,
1605:simply noted that "When I first heard
1346:Parsifal and Kundry, two paintings by
582:
574:Poster for the premiere production of
6393:
5453:
5290:
4820:"Martha Mödl: 'Portrait of a Legend'"
4714:
4691:. New York: Oxford University Press.
4460:Drama and the World of Richard Wagner
4352:"Parsifal – The Search for the Grail"
4235:Cosima Wagner's diary, 1 August 1881.
4084:
3949:
3810:
3567:Drama and the World of Richard Wagner
3443:
3419:
3410:
3149:
2648:
2627:Danielle Buschinger, Renate Ullrich,
2405:On the 14 December 2013 broadcast of
2002:performed in the role of Amfortas at
1916:. One line of argument suggests that
160:in three acts by the German composer
5238:on Stage: a PDF by Katherine R. Syer
5227:Summary of Wolfram von Eschenbach's
5158:, excerpts of the score, rwagner.net
5058:The World as Will and Representation
4794:
4497:
4438:
4264:
4111:
4033:
3985:
3846:
3782:
3765:
3626:
3154:(Media notes). Teldec. 9031-76047-2.
2423:staged performances available on DVD
2386:(the latter two both conducting the
1924:, expressed most extensively in his
1555:could initially only be seen at the
911:as Parsifal with flowermaidens, 1882
681:adding citations to reliable sources
652:
6556:Race-related controversies in opera
6374:
4668:; Syer, Katherine R., eds. (2005).
3216:. L'Almanacco di Gherardo Casaglia
2449:Parsifal – The Search for the Grail
2164:
1518:"Geleiten wir im bergenden Schrein"
939:Met premiere cast, 24 December 1903
24:
5479:
4935:
2416:
2193:
1978:The conductor of the premiere was
538:one act at a time, completing the
282:Wagner read von Eschenbach's poem
218:) and his spiritual quest for the
25:
6567:
5119:
4556:The Cambridge Companion to Wagner
4480:Wagner and the Art of the Theatre
4443:. Eugene, Oregon: Cascade Books.
3372:, Phaidon Press, 1995, pp. 57–58.
2027:The Myth of the Twentieth Century
1571:On the other hand, the conductor
1404:"Amfortas! Die Wunde! Die Wunde!"
554:of the next act; but because the
550:of each act before beginning the
233:was first produced at the second
6373:
6363:
6354:
6353:
5941:Männerlist größer als Frauenlist
5707:
5695:
5683:
5663:
5651:
5639:
5627:
5612:
5584:
5572:
5560:
5402:Perceval, the Story of the Grail
5083:A Companion to Wagner's Parsifal
4946:. Faber and Faber Ltd., London.
4670:A Companion to Wagner's Parsifal
4344:
4322:"Wagner 200 Building a Library:
4319:
4313:
4290:
4270:
4238:
4229:
4206:
4190:
4147:
3478:. Reviewed by Richard Evidon in
2763:s:On the Will in Nature#SINOLOGY
2516:
2058:between 1939 and 1942. However,
1897:
1026:King of the Kingdom of the Grail
796:Bayreuth lifted its monopoly on
657:
5281:, constructed by Andrew Gourlay
5104:. Edinburgh: Candle Row Press.
5010:The Opera Goer's Complete Guide
4758:. London: Thames & Hudson.
4754:Millington, Barry, ed. (1992).
4117:
3878:
3852:
3771:
3743:
3727:
3683:
3659:
3583:
3559:
3524:
3499:
3461:
3375:
3359:
3322:
3223:
3198:
3158:
3143:
3099:
3018:
2989:
2842:
2817:
2779:
2629:Das Mittelalter Richard Wagners
2140:Many music theorists have used
2135:
1837:, but later rejected the idea.
1775:
668:needs additional citations for
525:on the 26th of the same month.
335:According to his autobiography
73:in the first production of the
6336:Richard Wagner Museum, Lucerne
5692:Die Meistersinger von Nürnberg
4988:The Philosophy of Schopenhauer
4382:Aberbach, Aland David (2003).
4156:"Introduction to the Music of
2752:
2705:
2642:
2621:
2608:
2588:
2574:meaning "pure (or poor) fool".
2544:
2429:was adapted for the screen by
1675:During a break from composing
1005:an elderly knight of the Grail
513:elaboration of the music. The
485:) was made in pencil on three
437:Die Meistersinger von Nürnberg
424:Wagner did not resume work on
269:
13:
1:
5825:A Communication to My Friends
4603:. Harcourt Brace Jovanovich.
4560:Cambridge Companions to Music
3825:, pp. 245–246, 249, 255.
2581:
2309:
2081:
1982:, the court conductor at the
1720:
631:At the first performances of
477:and in English as either the
198:Perceval ou le Conte du Graal
27:Music drama by Richard Wagner
5170:on TV: Met and Festspielhaus
5081:; Katherine R. Syer (eds.).
4795:Rose, Paul Lawrence (1992).
4537:Wagner: Beyond Good and Evil
3813:, pp. 279–280, 371–380.
3785:, pp. 135, 158–169 and
3106:"Pondering the Mysteries of
3036:(in French) (156): 359–383.
2502:, writers Robert Gutman and
2289:in Bayreuth, Wagner had the
2008:, causing some controversy.
1864:On the Genealogy of Morality
1840:
1693:Interpretation and influence
1546:
394:However, as his second wife
363:. The composer and his wife
349:morning, April 1857, in the
298:. Out of this interest came
290:in 1845. After encountering
7:
6075:Houston Stewart Chamberlain
6032:Bayreuth Festival Orchestra
5492:List of works for the stage
5283:, published by Schott Music
4990:. Oxford: Clarendon Press.
4841:. London: Faber and Faber.
4799:Wagner: Race and Revolution
4708:Kinderman & Syer (2005)
4687:Kinderman, William (2013).
4658:Kinderman & Syer (2005)
4458:Borchmeyer, Dieter (2003).
4384:The Ideas of Richard Wagner
3565:Borchmeyer, Dieter (2003).
3034:Revue d'Histoire du Théâtre
2509:
2421:In addition to a number of
2144:to explore difficulties in
2116:theme and the theme of the
1389:"Komm, komm, holder Knabe!"
1221:
931:Premiere cast, 26 July 1882
823:
587:
286:while taking the waters at
10:
6572:
6531:Libretti by Richard Wagner
5749:Das Liebesmahl der Apostel
5033:On the Genealogy of Morals
4778:The Life of Richard Wagner
4374:
4253:Studies in Music with Text
4024:, pp. 91–95, 128–130.
3571:Princeton University Press
3204:Casaglia, Gherardo (2005).
2702:which was never published.
2313:
1901:
1701:Scene design for act 3 by
816:. Such was the demand for
802:Teatro Comunale di Bologna
29:
6541:Operas adapted into films
6460:
6428:
6349:
6243:
6207:
6133:
6055:
6047:Richard Wagner Foundation
6002:
5977:
5912:
5869:
5811:The Artwork of the Future
5795:
5722:
5599:
5548:
5505:
5487:
5411:
5386:
5351:
5330:
4856:Spotts, Frederic (1994).
4837:Spencer, Stewart (2000).
4620:Bayreuth: The Early Years
4618:Hartford, Robert (1980).
4477:Carnegy, Patrick (2006).
3697:". In Julie Brown (ed.).
3235:, Met performance details
2250:(requiring two players),
2186:
2180:
2034:expressed the view that "
2011:It has been claimed that
1715:
1539:
1534:"Höchsten Heiles Wunder!"
1533:
1523:
1517:
1403:
1397:
1388:
1212:
800:on 1 January 1914 in the
326:were first introduced in
264:Richard Wagner Foundation
122:
105:
97:
87:
55:
44:
39:
32:Parsifal (disambiguation)
6546:Operas by Richard Wagner
5921:Die Laune des Verliebten
5148:Complete vocal score of
4923:Richard Wagner: Parsifal
4894:Weiner, Marc A. (1997).
4818:Shengold, David (2012).
4599:Gutman, Robert (1990) .
4403:Richard Wagner: Parsifal
4132:, retrieved 2 April 2017
3001:Lexikon der Filmbegriffe
2693:Friedrich von Suhtscheck
2537:
2065:
1418:
1318:
1226:
977:a messenger of the Grail
888:
604:. Stage designs were by
256:not as an opera, but as
6326:Wagner-Werk-Verzeichnis
6286:Nietzsche contra Wagner
6220:Richard Wagner Memorial
6215:Richard Wagner Monument
5609:Der Ring des Nibelungen
5557:Der fliegende Holländer
4726:. New York: Owl Books.
4637:Hofmann, Peter (2003).
4276:Holloway, Robin (1982)
4197:Cosima Wagner's Diaries
3509:Nietzsche contra Wagner
2850:Cosima Wagner's Diaries
2222:in B-flat and A, three
2024:work. In his 1930 book
1870:Nietzsche contra Wagner
1819:, with its emphasis on
1540:"Erlösung dem Erlöser!"
1489:Titurel's Funeral March
1475:Orchestral interlude –
1329:Klingsor's Magic Castle
1325:Klingsors Zauberschloss
1287:Orchestral interlude –
814:an hour behind Bayreuth
259:Ein Bühnenweihfestspiel
6521:German-language operas
6422:Wolfram von Eschenbach
6037:Bayreuth Festspielhaus
5273:conductors at Bayreuth
5100:Vernon, David (2021).
5012:. London: Best Books.
4439:Bell, Richard (2013).
4420:Berger, Karol (2017).
4401:Beckett, Lucy (1981).
3699:Western Music and Race
3506:Nietzsche, Friedrich.
2848:Wagner, Cosima (1980)
2078:
1975:
1887:
1749:
1727:
1629:is really something."
1524:"Nur eine Waffe taugt"
1511:
1507:), original design by
1458:
1383:
1362:
1356:
1351:
1311:
1273:
1247:
912:
901:
773:Bayreuth Festspielhaus
764:
637:
624:conducted by Levi and
598:Bayreuth Festspielhaus
579:
562:
556:
546:
540:
530:
521:
515:
491:
473:
417:
409:
392:
382:
351:
337:
328:
318:
279:
258:
227:Bayreuth Festspielhaus
187:Wolfram von Eschenbach
138:Bayreuth Festspielhaus
127:26 July 1882
117:Wolfram von Eschenbach
75:
6526:Holy Grail in fiction
6298:The Perfect Wagnerite
5892:Ride of the Valkyries
5818:Autobiographic Sketch
4740:Wagner and Philosophy
4578:Gregor-Dellin, Martin
3458:, pp. 92–93, 98.
3030:"La Wandeldekoration"
2995:Heinz-Hermann Meyer.
2759:On the Will in Nature
2550:Wagner's spelling of
2438:Hans-Jürgen Syberberg
2218:in B-flat and A, one
2073:
1973:
1902:Further information:
1875:
1744:
1700:
1502:
1449:
1381:
1345:
1306:
1271:
1245:
907:
896:
838:Post-war performances
810:Gran Teatre del Liceu
758:
643:Engelbert Humperdinck
573:
400:
369:
277:
5497:List of compositions
5205:Programme notes for
5052:Schopenhauer, Arthur
5028:Nietzsche, Friedrich
4944:The Wagner Companion
4877:Wagner and His World
4217:. New York: Schirmer
3386:. The Wagner Library
3094:Gregor-Dellin (1983)
2948:Gregor-Dellin (1983)
2924:Gregor-Dellin (1983)
2812:Gregor-Dellin (1983)
2747:Gregor-Dellin (1983)
2278:. (The other is the
2056:Deutsche Oper Berlin
1904:Wagner controversies
1730:Wagner's last work,
1716:Nur eine Waffe taugt
1644:Pelléas et Melisande
1481:Transformation music
1429:Parsifal's Wandering
1348:Rogelio de Egusquiza
1293:Transformation music
677:improve this article
649:Ban outside Bayreuth
594:Ludwig II of Bavaria
483:first complete draft
201:by the 12th-century
30:For other uses, see
6230:Wagner Ice Piedmont
6134:Cultural depictions
6125:Eva Wagner-Pasquier
5951:Wieland der Schmied
5853:Music of the Future
5729:Symphony in C major
5265:, by Geoffrey Riggs
5062:. New York: Dover.
4915:Heinz-Klaus Metzger
4710:, pp. 133-175.
4622:. Victor Gollancz.
4584:. William Collins.
4187:, pp. 136–139.
4102:, pp. 173–174.
4051:, pp. 174–175.
4036:, pp. 230–231.
4012:, pp. 321–324.
4000:, pp. 238–260.
3988:, pp. 269–270.
3964:, pp. 133–138.
3952:, pp. 264–285.
3940:, pp. 267–291.
3928:, pp. 339–345.
3724:, pp. 166–169.
3670:In Search of Wagner
3656:, pp. 257–259.
3644:, pp. 287–288.
3629:, pp. 131–132.
3592:"Parsifal and race"
3512:. Project Gutenberg
3496:, pp. 113–120.
3470:by Richard Wagner,
3434:, pp. 341–342.
3140:, pp. 288–290.
3057:, pp. 268 ff..
2974:, pp. 107–118.
2875:, pp. 135–136.
2830:. Project Gutenberg
2717:Seattle Opera House
2713:"Parsifal Synopsis"
2398:under the baton of
2388:Berlin Philharmonic
2380:Herbert von Karajan
2347:Hans Knappertsbusch
2075:Margaret Matzenauer
2030:the Nazi ideologue
1846:Friedrich Nietzsche
1782:Arthur Schopenhauer
1665:George Bernard Shaw
1485:Titurels Totenfeier
1423:Prelude to act 3 –
1323:Prelude to act 2 –
1189:Marcia Van Dresser
919:
873:Hans Knappertsbusch
583:Performance history
563:Partiturerstschrift
531:Partiturerstschrift
361:Mathilde Wesendonck
341:, Wagner conceived
292:Arthur Schopenhauer
76:Bühnenweihfestspiel
6310:Der Ring in Minden
6252:The Case of Wagner
6011:Bayreuther Blätter
5804:Art and Revolution
5723:Non-operatic music
5680:Tristan und Isolde
5251:2019-08-13 at the
5213:2020-07-16 at the
4666:Kinderman, William
4660:, pp. 81-130.
4166:on October 4, 2011
4154:Everett, Derrick.
3885:Everett, Derrick.
3860:Of Gods and Demons
3590:Everett, Derrick.
3422:, pp. 371–380
3384:"Religion and Art"
3233:, 24 December 1903
2997:"Wandeldekoration"
2788:"Prose Sketch for
2786:Everett, Derrick.
2079:
1976:
1922:Arthur de Gobineau
1826:Tristan und Isolde
1728:
1678:The Rite of Spring
1512:
1509:Paul von Joukowsky
1459:
1425:Parsifals Irrfahrt
1384:
1352:
1312:
1308:Paul von Joukowsky
1274:
1248:
1194:Voice from Above,
1187:Lillian Heidelbach
1147:Six flowermaidens
1130:Adolf von Hübbenet
1089:Two Grail knights
964:Hermann Winkelmann
915:
913:
909:Hermann Winkelmann
902:
900:as Gurnemanz, 1883
786:Metropolitan Opera
771:took place in the
765:
761:Metropolitan Opera
610:Paul von Joukowsky
580:
431:Tristan und Isolde
280:
243:Metropolitan Opera
208:Chrétien de Troyes
170:Middle High German
71:Hermann Winkelmann
6493:
6492:
6387:
6386:
6203:
6202:
6027:Bayreuth Festival
6003:Bayreuth Festival
5998:
5997:
5973:
5972:
5966:
5965:(1858; text only)
5956:
5955:(1850; text only)
5946:
5936:
5926:
5913:Unfinished operas
5908:
5907:
5784:
5774:
5769:Wesendonck Lieder
5764:
5763:(1844, rev. 1855)
5754:
5744:
5733:
5718:
5717:
5674:
5673:
5595:
5594:
5544:
5543:
5447:
5446:
5243:Richard Wagner –
5185:Essay by Rolf May
5079:William Kinderman
5036:. Vintage Books.
4975:978-3-7618-2418-4
4886:978-0-691-14366-8
4839:Wagner Remembered
4810:978-0-300-06745-3
4742:, Penguin Books,
4722:The Tristan Chord
4698:978-0-19-536692-1
4689:Wagner's Parsifal
4569:978-0-521-64439-6
4546:978-0-520-25453-4
4450:978-1-62032-885-9
4303:Kyle Cathie Ltd,
4280:, Harper and Row
4213:Wagner, Richard.
4124:Bayreuth Festival
4100:Deathridge (2008)
3998:Borchmeyer (2003)
3887:"The 1939 Ban on
3823:Borchmeyer (2003)
3799:Borchmeyer (2003)
3768:, pp. 168 f.
3756:, Dobell, 1899. .
3754:A Study of Wagner
3740:, Schirmer, 1904.
3734:Hans von Wolzogen
3722:Deathridge (2008)
3708:978-0-521-83887-0
3654:Borchmeyer (2003)
3407:, pp. 127 f.
3382:Wagner, Richard.
3271:, pp. 176 f.
3247:, pp. 126 f.
3112:by Fred Plotkin,
3069:, pp. 93–95.
2962:, pp. 90 f..
2936:Millington (1992)
2926:, pp. 477 f.
2911:, pp. 147 f.
2909:Millington (1992)
2873:Millington (1992)
2854:Skelton, Geoffrey
2827:Mein Leben vol II
2824:Wagner, Richard.
2774:Millington (1992)
2662:(1074): 703–705.
2655:The Musical Times
2637:978-3-8260-3078-9
2465:Bayreuth Festival
2453:Mariinsky Theatre
2392:Gramophone Awards
2355:Bayreuth Festival
2102:Hans von Wolzogen
1952:Hans von Wolzogen
1813:Good Friday Spell
1804:Good Friday Spell
1573:Felix Weingartner
1557:Bayreuth Festival
1477:Verwandlungsmusik
1289:Verwandlungsmusik
1269:
1231:Prelude to act 1
1219:
1218:
1203:Sophie Dompierre
1078:August Kindermann
1036:Theodor Reichmann
969:Alois Burgstaller
847:Bayreuth Festival
806:Giuseppe Borgatti
753:
752:
745:
727:
479:preliminary draft
383:Die Meistersinger
252:Wagner described
235:Bayreuth Festival
214:knight Parzival (
194:chivalric romance
173:chivalric romance
145:
144:
81:Bayreuth Festival
16:(Redirected from
6563:
6516:Arthurian operas
6414:
6407:
6400:
6391:
6390:
6377:
6376:
6367:
6357:
6356:
6208:Named for Wagner
6177:Film adaptations
6174:
6173:
6105:Siegfried Wagner
6090:Katharina Wagner
5975:
5974:
5964:
5954:
5944:
5934:
5924:
5910:
5909:
5874:
5873:
5782:
5772:
5762:
5752:
5742:
5731:
5711:
5699:
5687:
5667:
5655:
5643:
5631:
5616:
5604:
5603:
5597:
5596:
5588:
5576:
5564:
5546:
5545:
5528:Das Liebesverbot
5510:
5509:
5474:
5467:
5460:
5451:
5450:
5311:
5304:
5297:
5288:
5287:
5217:by Luke Berryman
5162:English libretto
5141:: Scores at the
5115:
5096:
5092:978-157113-457-8
5073:
5061:
5047:
5023:
5001:
4979:
4957:
4930:
4909:
4890:
4871:
4852:
4833:
4814:
4802:
4791:
4769:
4737:
4725:
4711:
4702:
4683:
4679:978-157113-457-8
4661:
4652:
4633:
4614:
4595:
4573:
4550:
4533:Deathridge, John
4528:
4494:
4473:
4454:
4435:
4416:
4397:
4368:
4367:
4365:
4363:
4358:on 2 August 2016
4348:
4342:
4341:
4339:
4337:
4317:
4311:
4294:
4288:
4274:
4268:
4262:
4256:
4242:
4236:
4233:
4227:
4226:
4224:
4222:
4210:
4204:
4201:Geoffrey Skelton
4194:
4188:
4182:
4176:
4175:
4173:
4171:
4162:. Archived from
4151:
4145:
4139:
4133:
4121:
4115:
4109:
4103:
4097:
4088:
4082:
4076:
4073:Kinderman (2005)
4070:
4064:
4061:Kinderman (2013)
4058:
4052:
4049:Kinderman (2005)
4046:
4037:
4031:
4025:
4019:
4013:
4007:
4001:
3995:
3989:
3983:
3977:
3974:Kinderman (2013)
3971:
3965:
3959:
3953:
3947:
3941:
3935:
3929:
3923:
3917:
3911:
3902:
3901:
3899:
3897:
3882:
3876:
3870:
3864:
3856:
3850:
3844:
3838:
3832:
3826:
3820:
3814:
3808:
3802:
3796:
3790:
3775:
3769:
3763:
3757:
3747:
3741:
3731:
3725:
3719:
3713:
3712:
3691:Deathridge, John
3687:
3681:
3663:
3657:
3651:
3645:
3639:
3630:
3624:
3615:
3609:
3603:
3602:
3600:
3598:
3587:
3581:
3563:
3557:
3551:
3545:
3539:
3533:
3528:
3522:
3521:
3519:
3517:
3503:
3497:
3491:
3485:
3465:
3459:
3453:
3447:
3441:
3435:
3429:
3423:
3417:
3408:
3402:
3396:
3395:
3393:
3391:
3379:
3373:
3363:
3357:
3351:
3345:
3339:
3333:
3326:
3320:
3314:
3308:
3302:
3296:
3290:
3284:
3278:
3272:
3266:
3260:
3254:
3248:
3242:
3236:
3227:
3221:
3219:
3213:
3202:
3196:
3190:
3184:
3183:
3181:
3179:
3162:
3156:
3155:
3152:Wagner: Parsifal
3147:
3141:
3135:
3129:
3123:
3117:
3103:
3097:
3091:
3082:
3076:
3070:
3064:
3058:
3052:
3046:
3045:
3022:
3016:
2993:
2987:
2981:
2975:
2969:
2963:
2957:
2951:
2945:
2939:
2933:
2927:
2921:
2912:
2906:
2900:
2894:
2888:
2882:
2876:
2870:
2864:
2846:
2840:
2839:
2837:
2835:
2821:
2815:
2809:
2803:
2802:
2800:
2798:
2783:
2777:
2771:
2765:
2756:
2750:
2744:
2738:
2732:
2730:
2728:
2719:. Archived from
2709:
2703:
2701:
2690:
2646:
2640:
2625:
2619:
2614:Richard Wagner,
2612:
2606:
2597:, "Einleitung",
2592:
2575:
2548:
2526:
2521:
2520:
2493:
2457:Ravello Festival
2384:Daniel Barenboim
2202:calls for three
2189:
2188:
2183:
2182:
2181:Ich sah das Kind
2165:Notable excerpts
2032:Alfred Rosenberg
1725:
1722:
1718:
1717:
1703:Arnaldo dell'Ira
1687:Sergei Diaghilev
1542:
1541:
1536:
1535:
1526:
1525:
1520:
1519:
1406:
1405:
1400:
1399:
1391:
1390:
1365:
1360:), Hell's Rose (
1359:
1270:
1181:Ernesta Delsarta
1157:or six sopranos
1150:three sopranos,
1104:Adolph Mühlmann
1049:an evil magician
920:
918:
914:
804:in Bologna with
748:
741:
737:
734:
728:
726:
685:
661:
653:
640:
638:Wandeldekoration
565:
559:
549:
543:
533:
528:The full score (
524:
518:
497:orchestral draft
494:
476:
420:
406:
385:
354:
340:
331:
321:
261:
134:
132:
78:
60:
37:
36:
21:
6571:
6570:
6566:
6565:
6564:
6562:
6561:
6560:
6496:
6495:
6494:
6489:
6456:
6424:
6418:
6388:
6383:
6345:
6259:Gesamtkunstwerk
6239:
6225:Wagner (crater)
6199:
6172:
6129:
6120:Wolfgang Wagner
6115:Winifred Wagner
6070:Eva Chamberlain
6051:
6042:Jahrhundertring
6022:Bayreuth Circle
5994:
5969:
5904:
5865:
5860:Opera and Drama
5791:
5779:Siegfried Idyll
5714:
5670:
5660:Götterdämmerung
5591:
5549:Romantic operas
5540:
5506:Complete operas
5501:
5483:
5478:
5448:
5443:
5407:
5382:
5368:The Evil Forest
5347:
5326:
5315:
5253:Wayback Machine
5215:Wayback Machine
5122:
5112:
5099:
5093:
5076:
5070:
5050:
5044:
5026:
5020:
5004:
4998:
4982:
4976:
4960:
4954:
4941:
4938:
4936:Further reading
4933:
4906:
4887:
4868:
4849:
4811:
4788:
4766:
4734:
4699:
4680:
4649:
4630:
4611:
4592:
4570:
4547:
4491:
4470:
4451:
4432:
4413:
4394:
4377:
4372:
4371:
4361:
4359:
4350:
4349:
4345:
4335:
4333:
4318:
4314:
4295:
4291:
4278:Opera on Record
4275:
4271:
4263:
4259:
4243:
4239:
4234:
4230:
4220:
4218:
4211:
4207:
4195:
4191:
4183:
4179:
4169:
4167:
4152:
4148:
4140:
4136:
4122:
4118:
4110:
4106:
4098:
4091:
4083:
4079:
4071:
4067:
4059:
4055:
4047:
4040:
4032:
4028:
4020:
4016:
4010:Aberbach (2003)
4008:
4004:
3996:
3992:
3984:
3980:
3972:
3968:
3960:
3956:
3948:
3944:
3936:
3932:
3924:
3920:
3912:
3905:
3895:
3893:
3883:
3879:
3871:
3867:
3857:
3853:
3845:
3841:
3833:
3829:
3821:
3817:
3809:
3805:
3797:
3793:
3779:Zelinsky (1982)
3776:
3772:
3764:
3760:
3748:
3744:
3732:
3728:
3720:
3716:
3709:
3688:
3684:
3666:Adorno, Theodor
3664:
3660:
3652:
3648:
3640:
3633:
3625:
3618:
3610:
3606:
3596:
3594:
3588:
3584:
3564:
3560:
3552:
3548:
3540:
3536:
3529:
3525:
3515:
3513:
3504:
3500:
3492:
3488:
3466:
3462:
3454:
3450:
3446:, pp. 1–2.
3442:
3438:
3430:
3426:
3418:
3411:
3405:Hartford (1980)
3403:
3399:
3389:
3387:
3380:
3376:
3366:Igor Stravinsky
3364:
3360:
3354:Hartford (1980)
3352:
3348:
3342:Hartford (1980)
3340:
3336:
3327:
3323:
3315:
3311:
3305:Hartford (1980)
3303:
3299:
3293:Hartford (1980)
3291:
3287:
3281:Hartford (1980)
3279:
3275:
3269:Hartford (1980)
3267:
3263:
3257:Hartford (1980)
3255:
3251:
3245:Hartford (1980)
3243:
3239:
3228:
3224:
3217:
3211:
3203:
3199:
3193:Shengold (2012)
3191:
3187:
3177:
3175:
3165:Erik Eriksson.
3163:
3159:
3148:
3144:
3136:
3132:
3124:
3120:
3116:, 2 March 2013.
3104:
3100:
3092:
3085:
3077:
3073:
3065:
3061:
3053:
3049:
3023:
3019:
2994:
2990:
2982:
2978:
2970:
2966:
2958:
2954:
2946:
2942:
2934:
2930:
2922:
2915:
2907:
2903:
2895:
2891:
2883:
2879:
2871:
2867:
2847:
2843:
2833:
2831:
2822:
2818:
2810:
2806:
2796:
2794:
2784:
2780:
2772:
2768:
2757:
2753:
2745:
2741:
2726:
2724:
2723:on 25 June 2014
2711:
2710:
2706:
2695:
2647:
2643:
2626:
2622:
2613:
2609:
2593:
2589:
2584:
2579:
2578:
2554:instead of the
2549:
2545:
2540:
2532:Gesamtkunstwerk
2522:
2515:
2512:
2504:Karen Armstrong
2500:Wolfgang Wagner
2487:
2485:Nikolai Putilin
2473:Plácido Domingo
2431:Daniel Mangrané
2419:
2417:Filmed versions
2321:
2312:
2260:thunder machine
2196:
2194:Instrumentation
2167:
2138:
2104:whose guide to
2084:
2068:
2040:Joseph Goebbels
1958:) who analysed
1906:
1900:
1843:
1778:
1753:Eduard Hanslick
1723:
1695:
1683:Igor Stravinsky
1639:Ernest Chausson
1565:Eduard Hanslick
1549:
1529:chorus mysticus
1455:Ernest van Dyck
1453:as Kundry with
1421:
1350:, 1910 and 1906
1321:
1265:
1229:
1224:
1188:
1186:
1184:
1182:
1180:
1179:Isabelle Bouton
1175:
1173:
1169:
1165:
1163:
1156:
1151:
1141:
1137:
1135:
1134:Katherine Moran
1128:
1124:
1122:
1115:
1113:
1103:
1098:
1093:
984:
940:
932:
916:
891:
877:dress rehearsal
840:
826:
749:
738:
732:
729:
686:
684:
674:
662:
651:
614:Siena Cathedral
590:
585:
557:Orchesterskizze
547:Orchesterskizze
522:Orchesterskizze
492:Orchesterskizze
404:
272:
141:
140:
135:
130:
128:
114:
83:
35:
28:
23:
22:
15:
12:
11:
5:
6569:
6559:
6558:
6553:
6548:
6543:
6538:
6533:
6528:
6523:
6518:
6513:
6508:
6491:
6490:
6488:
6487:
6480:
6475:
6470:
6464:
6462:
6458:
6457:
6455:
6454:
6447:
6440:
6432:
6430:
6426:
6425:
6417:
6416:
6409:
6402:
6394:
6385:
6384:
6382:
6381:
6371:
6361:
6350:
6347:
6346:
6344:
6343:
6338:
6333:
6328:
6323:
6318:
6313:
6306:
6301:
6294:
6292:Parsifal bells
6289:
6282:
6277:
6272:
6267:
6262:
6255:
6247:
6245:
6241:
6240:
6238:
6237:
6232:
6227:
6222:
6217:
6211:
6209:
6205:
6204:
6201:
6200:
6198:
6197:
6189:
6180:
6178:
6171:
6170:
6162:
6158:Wagner's Dream
6154:
6146:
6137:
6135:
6131:
6130:
6128:
6127:
6122:
6117:
6112:
6110:Wieland Wagner
6107:
6102:
6097:
6092:
6087:
6082:
6077:
6072:
6067:
6065:Isolde Beidler
6061:
6059:
6053:
6052:
6050:
6049:
6044:
6039:
6034:
6029:
6024:
6019:
6017:Bayreuth canon
6014:
6006:
6004:
6000:
5999:
5996:
5995:
5993:
5992:
5987:
5981:
5979:
5971:
5970:
5968:
5967:
5957:
5947:
5937:
5927:
5916:
5914:
5906:
5905:
5903:
5902:
5895:
5888:
5880:
5878:
5877:Opera excerpts
5871:
5867:
5866:
5864:
5863:
5856:
5849:
5842:
5835:
5828:
5821:
5814:
5807:
5799:
5797:
5793:
5792:
5790:
5785:
5775:
5765:
5759:Faust Overture
5755:
5745:
5734:
5726:
5724:
5720:
5719:
5716:
5715:
5713:
5712:
5700:
5688:
5675:
5672:
5671:
5669:
5668:
5656:
5644:
5632:
5619:
5617:
5601:
5593:
5592:
5590:
5589:
5577:
5565:
5552:
5550:
5542:
5541:
5539:
5538:
5531:
5524:
5516:
5514:
5507:
5503:
5502:
5500:
5499:
5494:
5488:
5485:
5484:
5481:Richard Wagner
5477:
5476:
5469:
5462:
5454:
5445:
5444:
5442:
5441:
5434:
5429:
5421:
5415:
5413:
5409:
5408:
5406:
5405:
5398:
5390:
5388:
5384:
5383:
5381:
5380:
5372:
5364:
5355:
5353:
5349:
5348:
5346:
5345:
5340:
5334:
5332:
5328:
5327:
5318:Richard Wagner
5314:
5313:
5306:
5299:
5291:
5285:
5284:
5279:Parsifal Suite
5275:
5266:
5256:
5240:
5232:
5224:
5218:
5202:
5182:
5173:
5164:
5159:
5153:
5145:
5133:
5132:
5121:
5120:External links
5118:
5117:
5116:
5111:978-1527299245
5110:
5097:
5091:
5074:
5068:
5048:
5042:
5024:
5018:
5002:
4996:
4980:
4974:
4962:Konrad, Ulrich
4958:
4952:
4937:
4934:
4932:
4931:
4927:Musik-Konzepte
4910:
4904:
4891:
4885:
4872:
4866:
4853:
4847:
4834:
4815:
4809:
4792:
4786:
4774:Newman, Ernest
4770:
4764:
4751:
4732:
4712:
4703:
4697:
4684:
4678:
4662:
4653:
4647:
4634:
4628:
4615:
4609:
4596:
4590:
4574:
4568:
4551:
4545:
4529:
4517:10.2307/854168
4504:Music Analysis
4495:
4489:
4474:
4468:
4455:
4449:
4436:
4430:
4417:
4411:
4398:
4392:
4378:
4376:
4373:
4370:
4369:
4343:
4312:
4289:
4269:
4257:
4237:
4228:
4205:
4189:
4177:
4146:
4144:, p. 357.
4134:
4116:
4114:, p. 230.
4104:
4089:
4087:, p. 366.
4077:
4075:, p. 174.
4065:
4053:
4038:
4026:
4022:Kienzle (2005)
4014:
4002:
3990:
3978:
3976:, p. 211.
3966:
3962:Beckett (1981)
3954:
3942:
3938:Hofmann (2003)
3930:
3918:
3903:
3877:
3875:, p. 166.
3865:
3851:
3849:, p. 207.
3839:
3827:
3815:
3803:
3791:
3770:
3758:
3742:
3726:
3714:
3707:
3682:
3658:
3646:
3642:Hofmann (2003)
3631:
3616:
3614:, p. 406.
3604:
3582:
3558:
3546:
3534:
3523:
3498:
3494:Beckett (1981)
3486:
3460:
3456:Kienzle (2005)
3448:
3436:
3424:
3409:
3397:
3374:
3370:Michael Oliver
3358:
3356:, p. 167.
3346:
3344:, p. 151.
3334:
3321:
3319:, p. 108.
3317:Beckett (1981)
3309:
3307:, p. 193.
3297:
3295:, p. 180.
3285:
3283:, p. 178.
3273:
3261:
3259:, p. 131.
3249:
3237:
3222:
3197:
3185:
3157:
3142:
3138:Carnegy (2006)
3130:
3128:, p. 212.
3118:
3098:
3083:
3079:Beckett (1981)
3071:
3067:Beckett (1981)
3059:
3055:Spencer (2000)
3047:
3017:
2988:
2986:, p. 270.
2984:Spencer (2000)
2976:
2972:Carnegy (2006)
2964:
2960:Beckett (1981)
2952:
2950:, p. 485.
2940:
2938:, p. 307.
2928:
2913:
2901:
2897:Beckett (1981)
2889:
2885:Beckett (1981)
2877:
2865:
2841:
2816:
2814:, p. 270.
2804:
2778:
2776:, p. 147.
2766:
2751:
2749:, p. 141.
2739:
2704:
2668:10.2307/917595
2641:
2620:
2607:
2586:
2585:
2583:
2580:
2577:
2576:
2542:
2541:
2539:
2536:
2535:
2534:
2528:
2527:
2511:
2508:
2481:Matti Salminen
2477:Violeta Urmana
2418:
2415:
2400:Rafael Kubelík
2314:Main article:
2311:
2308:
2258:, one onstage
2198:The score for
2195:
2192:
2187:Wehvolles Erbe
2166:
2163:
2137:
2134:
2083:
2080:
2067:
2064:
1899:
1896:
1854:slave morality
1842:
1839:
1777:
1774:
1694:
1691:
1631:Claude Debussy
1628:
1548:
1545:
1451:Amalie Materna
1420:
1417:
1320:
1317:
1228:
1225:
1223:
1220:
1217:
1216:
1210:
1209:
1204:
1201:
1198:
1191:
1190:
1177:
1167:Carrie Pringle
1161:Pauline Horson
1158:
1148:
1144:
1143:
1136:Paula Braendle
1132:
1117:
1110:
1106:
1105:
1100:
1095:
1090:
1086:
1085:
1083:Marcel Journet
1080:
1075:
1072:
1065:
1064:
1061:
1056:
1051:
1044:
1043:
1041:Anton van Rooy
1038:
1033:
1028:
1021:
1020:
1017:
1012:
1007:
1000:
999:
994:
992:Amalie Materna
989:
979:
972:
971:
966:
961:
956:
946:
945:
937:
929:
924:
890:
887:
851:Wieland Wagner
839:
836:
825:
822:
791:Gino Marinuzzi
751:
750:
665:
663:
656:
650:
647:
589:
586:
584:
581:
271:
268:
162:Richard Wagner
143:
142:
136:
126:
124:
120:
119:
107:
103:
102:
99:
95:
94:
92:Richard Wagner
89:
85:
84:
63:Amalie Materna
61:
53:
52:
50:Richard Wagner
42:
41:
26:
9:
6:
4:
3:
2:
6568:
6557:
6554:
6552:
6549:
6547:
6544:
6542:
6539:
6537:
6534:
6532:
6529:
6527:
6524:
6522:
6519:
6517:
6514:
6512:
6509:
6507:
6504:
6503:
6501:
6486:
6485:
6481:
6479:
6476:
6474:
6471:
6469:
6466:
6465:
6463:
6459:
6453:
6452:
6448:
6446:
6445:
6441:
6439:
6438:
6434:
6433:
6431:
6427:
6423:
6415:
6410:
6408:
6403:
6401:
6396:
6395:
6392:
6380:
6372:
6370:
6366:
6362:
6360:
6352:
6351:
6348:
6342:
6339:
6337:
6334:
6332:
6329:
6327:
6324:
6322:
6321:Controversies
6319:
6317:
6316:Tristan chord
6314:
6312:
6311:
6307:
6305:
6302:
6300:
6299:
6295:
6293:
6290:
6288:
6287:
6283:
6281:
6278:
6276:
6273:
6271:
6268:
6266:
6263:
6261:
6260:
6256:
6254:
6253:
6249:
6248:
6246:
6242:
6236:
6233:
6231:
6228:
6226:
6223:
6221:
6218:
6216:
6213:
6212:
6210:
6206:
6196:
6194:
6190:
6188:
6186:
6182:
6181:
6179:
6175:
6169:
6167:
6163:
6160:
6159:
6155:
6152:
6151:
6147:
6144:
6143:
6139:
6138:
6136:
6132:
6126:
6123:
6121:
6118:
6116:
6113:
6111:
6108:
6106:
6103:
6101:
6098:
6096:
6093:
6091:
6088:
6086:
6085:Cosima Wagner
6083:
6081:
6078:
6076:
6073:
6071:
6068:
6066:
6063:
6062:
6060:
6058:
6057:Wagner family
6054:
6048:
6045:
6043:
6040:
6038:
6035:
6033:
6030:
6028:
6025:
6023:
6020:
6018:
6015:
6013:
6012:
6008:
6007:
6005:
6001:
5991:
5988:
5986:
5983:
5982:
5980:
5976:
5963:
5962:
5958:
5953:
5952:
5948:
5943:
5942:
5938:
5933:
5932:
5928:
5923:
5922:
5918:
5917:
5915:
5911:
5900:
5896:
5893:
5889:
5886:
5885:Bridal Chorus
5882:
5881:
5879:
5875:
5872:
5868:
5862:
5861:
5857:
5854:
5850:
5848:
5847:
5843:
5841:
5840:
5836:
5833:
5829:
5826:
5822:
5819:
5815:
5812:
5808:
5805:
5801:
5800:
5798:
5794:
5789:
5786:
5781:
5780:
5776:
5771:
5770:
5766:
5761:
5760:
5756:
5751:
5750:
5746:
5741:
5739:
5735:
5730:
5727:
5725:
5721:
5710:
5706:
5705:
5701:
5698:
5694:
5693:
5689:
5686:
5682:
5681:
5677:
5676:
5666:
5662:
5661:
5657:
5654:
5650:
5649:
5645:
5642:
5638:
5637:
5633:
5630:
5626:
5625:
5624:Das Rheingold
5621:
5620:
5618:
5615:
5611:
5610:
5605:
5602:
5598:
5587:
5583:
5582:
5578:
5575:
5571:
5570:
5566:
5563:
5559:
5558:
5554:
5553:
5551:
5547:
5537:
5536:
5532:
5530:
5529:
5525:
5523:
5522:
5518:
5517:
5515:
5511:
5508:
5504:
5498:
5495:
5493:
5490:
5489:
5486:
5482:
5475:
5470:
5468:
5463:
5461:
5456:
5455:
5452:
5440:
5439:
5435:
5433:
5430:
5428:
5426:
5422:
5420:
5419:Parsifal bell
5417:
5416:
5414:
5410:
5404:
5403:
5399:
5397:
5396:
5392:
5391:
5389:
5385:
5378:
5377:
5373:
5370:
5369:
5365:
5362:
5361:
5357:
5356:
5354:
5350:
5344:
5341:
5339:
5336:
5335:
5333:
5329:
5325:
5324:
5319:
5312:
5307:
5305:
5300:
5298:
5293:
5292:
5289:
5282:
5280:
5276:
5274:
5272:
5267:
5264:
5262:
5257:
5254:
5250:
5247:
5246:
5241:
5239:
5237:
5233:
5231:
5230:
5225:
5222:
5221:Wagner Operas
5219:
5216:
5212:
5209:
5208:
5203:
5200:
5199:
5194:
5190:
5186:
5183:
5181:
5177:
5174:
5171:
5169:
5165:
5163:
5160:
5157:
5154:
5152:
5151:
5146:
5144:
5140:
5139:
5135:
5134:
5131:
5127:
5124:
5123:
5113:
5107:
5103:
5098:
5094:
5088:
5084:
5080:
5075:
5071:
5069:0-486-21762-0
5065:
5060:
5059:
5053:
5049:
5045:
5043:0-679-72462-1
5039:
5035:
5034:
5029:
5025:
5021:
5019:0-7222-6262-0
5015:
5011:
5007:
5003:
4999:
4997:0-19-823722-7
4993:
4989:
4985:
4981:
4977:
4971:
4967:
4963:
4959:
4955:
4953:0-571-11450-4
4949:
4945:
4940:
4939:
4928:
4924:
4920:
4916:
4911:
4907:
4905:0-8032-9792-0
4901:
4897:
4892:
4888:
4882:
4878:
4873:
4869:
4867:0-300-05777-6
4863:
4859:
4854:
4850:
4848:0-571-19653-5
4844:
4840:
4835:
4831:
4827:
4826:
4821:
4816:
4812:
4806:
4801:
4800:
4793:
4789:
4787:0-521-29149-6
4783:
4779:
4775:
4771:
4767:
4765:0-02-871359-1
4761:
4757:
4752:
4749:
4748:0-14-029519-4
4745:
4741:
4735:
4733:0-8050-7189-X
4729:
4724:
4723:
4717:
4713:
4709:
4704:
4700:
4694:
4690:
4685:
4681:
4675:
4671:
4667:
4663:
4659:
4654:
4650:
4648:3-506-73929-8
4644:
4640:
4635:
4631:
4629:0-575-02865-3
4625:
4621:
4616:
4612:
4610:0-15-677615-4
4606:
4602:
4597:
4593:
4591:0-00-216669-0
4587:
4583:
4579:
4575:
4571:
4565:
4561:
4557:
4552:
4548:
4542:
4538:
4534:
4530:
4526:
4522:
4518:
4514:
4510:
4506:
4505:
4500:
4499:Cohn, Richard
4496:
4492:
4490:0-300-10695-5
4486:
4482:
4481:
4475:
4471:
4469:0-691-11497-8
4465:
4461:
4456:
4452:
4446:
4442:
4437:
4433:
4431:9780520966130
4427:
4423:
4418:
4414:
4412:0-521-29662-5
4408:
4404:
4399:
4395:
4393:0-7618-2524-X
4389:
4385:
4380:
4379:
4357:
4353:
4347:
4332:. BBC Radio 3
4331:
4327:
4325:
4320:Nice, David.
4316:
4310:
4309:1-85626-056-9
4306:
4302:
4298:
4293:
4287:
4286:0-06-090910-2
4283:
4279:
4273:
4266:
4261:
4254:
4250:
4246:
4241:
4232:
4216:
4209:
4202:
4198:
4193:
4186:
4185:Thorau (2009)
4181:
4165:
4161:
4159:
4150:
4143:
4142:Berger (2017)
4138:
4131:
4130:
4125:
4120:
4113:
4108:
4101:
4096:
4094:
4086:
4081:
4074:
4069:
4063:, p. 26.
4062:
4057:
4050:
4045:
4043:
4035:
4030:
4023:
4018:
4011:
4006:
3999:
3994:
3987:
3982:
3975:
3970:
3963:
3958:
3951:
3946:
3939:
3934:
3927:
3926:Berger (2017)
3922:
3916:, p. 192
3915:
3914:Spotts (1994)
3910:
3908:
3892:
3890:
3881:
3874:
3873:Spotts (1994)
3869:
3862:
3861:
3855:
3848:
3843:
3836:
3835:Newman (1976)
3831:
3824:
3819:
3812:
3807:
3800:
3795:
3788:
3787:Weiner (1997)
3784:
3780:
3774:
3767:
3762:
3755:
3751:
3750:Ernest Newman
3746:
3739:
3735:
3730:
3723:
3718:
3710:
3704:
3700:
3696:
3692:
3686:
3679:
3678:1-84467-500-9
3675:
3671:
3667:
3662:
3655:
3650:
3643:
3638:
3636:
3628:
3623:
3621:
3613:
3612:Gutman (1990)
3608:
3593:
3586:
3580:
3579:0-691-11497-8
3576:
3572:
3568:
3562:
3555:
3554:Weiner (1997)
3550:
3543:
3542:Gutman (1990)
3538:
3532:
3527:
3511:
3510:
3502:
3495:
3490:
3483:
3482:
3477:
3473:
3469:
3464:
3457:
3452:
3445:
3440:
3433:
3432:Berger (2017)
3428:
3421:
3416:
3414:
3406:
3401:
3385:
3378:
3371:
3367:
3362:
3355:
3350:
3343:
3338:
3332:, p. 225
3331:
3330:Fauser (2008)
3325:
3318:
3313:
3306:
3301:
3294:
3289:
3282:
3277:
3270:
3265:
3258:
3253:
3246:
3241:
3234:
3232:
3226:
3215:
3214:26 July 1882"
3209:
3201:
3194:
3189:
3174:
3173:
3168:
3167:"Martha Mödl"
3161:
3153:
3146:
3139:
3134:
3127:
3126:Spotts (1994)
3122:
3115:
3111:
3109:
3102:
3096:, p. 506
3095:
3090:
3088:
3081:, p. 94.
3080:
3075:
3068:
3063:
3056:
3051:
3043:
3039:
3035:
3031:
3027:
3026:Pascal Lecocq
3021:
3014:
3013:Pascal Lecocq
3010:
3006:
3002:
2998:
2992:
2985:
2980:
2973:
2968:
2961:
2956:
2949:
2944:
2937:
2932:
2925:
2920:
2918:
2910:
2905:
2899:, p. 22.
2898:
2893:
2887:, p. 13.
2886:
2881:
2874:
2869:
2863:
2862:0-00-216189-3
2859:
2855:
2851:
2845:
2829:
2828:
2820:
2813:
2808:
2793:
2791:
2782:
2775:
2770:
2764:
2760:
2755:
2748:
2743:
2736:
2722:
2718:
2714:
2708:
2699:
2694:
2689:
2685:
2681:
2677:
2673:
2669:
2665:
2661:
2657:
2656:
2651:
2645:
2638:
2634:
2630:
2624:
2617:
2611:
2604:
2600:
2596:
2595:Joseph Görres
2591:
2587:
2573:
2569:
2565:
2561:
2557:
2553:
2547:
2543:
2533:
2530:
2529:
2525:
2519:
2514:
2507:
2505:
2501:
2497:
2496:Anna Netrebko
2491:
2486:
2482:
2478:
2474:
2470:
2466:
2462:
2458:
2454:
2450:
2446:
2442:
2439:
2435:
2432:
2428:
2424:
2414:
2412:
2408:
2403:
2401:
2397:
2393:
2389:
2385:
2381:
2377:
2373:
2368:
2365:
2361:
2356:
2352:
2348:
2344:
2342:
2337:
2333:
2329:
2325:
2320:
2318:
2307:
2305:
2301:
2300:tubular bells
2296:
2292:
2291:Parsifal bell
2288:
2283:
2281:
2280:Symphony in C
2277:
2276:contrabassoon
2273:
2269:
2265:
2261:
2257:
2253:
2249:
2245:
2241:
2237:
2233:
2229:
2228:contrabassoon
2225:
2221:
2220:bass clarinet
2217:
2213:
2209:
2205:
2201:
2191:
2176:
2172:
2162:
2159:
2155:
2151:
2147:
2143:
2133:
2131:
2127:
2123:
2119:
2115:
2110:
2107:
2103:
2099:
2095:
2091:
2090:
2076:
2072:
2063:
2061:
2057:
2053:
2049:
2045:
2041:
2037:
2033:
2029:
2028:
2022:
2018:
2014:
2009:
2007:
2006:
2001:
2000:George London
1997:
1993:
1989:
1985:
1981:
1972:
1968:
1965:
1961:
1957:
1956:Ernest Newman
1953:
1948:
1946:
1941:
1937:
1933:
1929:
1928:
1923:
1919:
1915:
1911:
1905:
1898:Racism debate
1895:
1893:
1886:
1884:
1879:
1874:
1872:
1871:
1866:
1865:
1860:
1855:
1851:
1847:
1838:
1836:
1832:
1828:
1827:
1822:
1818:
1814:
1810:
1809:Schadenfreude
1805:
1800:
1796:
1791:
1787:
1783:
1773:
1771:
1766:
1762:
1758:
1754:
1748:
1743:
1741:
1737:
1733:
1712:
1708:
1704:
1699:
1690:
1688:
1684:
1680:
1679:
1673:
1670:
1666:
1661:
1657:
1653:
1648:
1646:
1645:
1640:
1636:
1632:
1626:
1624:
1620:
1619:Jean Sibelius
1616:
1612:
1608:
1604:
1599:
1598:Gustav Mahler
1595:
1591:
1587:
1583:
1579:
1574:
1569:
1566:
1562:
1558:
1554:
1544:
1530:
1510:
1506:
1505:Theodor Pixis
1501:
1497:
1496:
1492:
1490:
1486:
1482:
1478:
1473:
1470:
1468:
1463:
1456:
1452:
1448:
1444:
1440:
1439:
1435:
1432:
1430:
1426:
1416:
1412:
1408:
1393:
1380:
1376:
1375:
1371:
1369:
1364:
1358:
1349:
1344:
1340:
1339:
1335:
1332:
1330:
1326:
1316:
1309:
1305:
1301:
1300:
1296:
1294:
1290:
1285:
1282:
1278:
1263:
1259:
1257:
1253:
1244:
1240:
1239:
1235:
1232:
1215:
1211:
1208:
1205:
1202:
1199:
1197:
1193:
1192:
1178:
1174:Hermine Galfy
1172:
1171:Johanna André
1168:
1162:
1159:
1155:
1149:
1146:
1145:
1142:Willy Harden
1140:
1133:
1131:
1127:
1123:Mathilde Keil
1121:
1120:Hermine Galfy
1118:
1111:
1109:Four squires
1108:
1107:
1101:
1099:Eugen Stumpf
1096:
1091:
1088:
1087:
1084:
1081:
1079:
1076:
1073:
1071:
1067:
1066:
1062:
1060:
1057:
1055:
1054:bass-baritone
1052:
1050:
1046:
1045:
1042:
1039:
1037:
1034:
1032:
1029:
1027:
1023:
1022:
1019:Robert Blass
1018:
1016:
1013:
1011:
1008:
1006:
1002:
1001:
998:
997:Milka Ternina
995:
993:
990:
988:
987:mezzo-soprano
983:
980:
978:
974:
973:
970:
967:
965:
962:
960:
957:
955:
951:
948:
947:
944:
938:
936:
930:
928:
925:
922:
921:
910:
906:
899:
895:
886:
883:
878:
874:
869:
865:
864:Ernest Newman
861:
860:Adolphe Appia
856:
852:
848:
844:
835:
832:
831:curtain calls
821:
819:
815:
811:
807:
803:
799:
794:
792:
787:
781:
778:
774:
770:
762:
757:
747:
744:
736:
725:
722:
718:
715:
711:
708:
704:
701:
697:
694: –
693:
689:
688:Find sources:
682:
678:
672:
671:
666:This section
664:
660:
655:
654:
646:
644:
639:
634:
629:
627:
626:Franz Fischer
623:
619:
615:
611:
607:
603:
599:
595:
577:
572:
568:
564:
558:
553:
552:Gesamtentwurf
548:
542:
541:Gesamtentwurf
537:
532:
526:
523:
517:
516:Gesamtentwurf
510:
508:
504:
503:
498:
493:
488:
484:
480:
475:
474:Gesamtentwurf
469:
467:
463:
459:
455:
451:
449:
443:
439:
438:
433:
432:
427:
422:
419:
414:
408:
399:
397:
396:Cosima Wagner
391:
389:
384:
379:
374:
368:
366:
362:
358:
353:
348:
344:
339:
333:
330:
325:
320:
315:
311:
307:
303:
302:
297:
293:
289:
285:
276:
267:
265:
260:
255:
250:
248:
244:
240:
236:
232:
228:
223:
221:
217:
213:
209:
206:
205:
200:
199:
195:
192:
188:
185:
184:
179:
178:
174:
171:
167:
163:
159:
155:
151:
150:
139:
125:
121:
118:
113:
112:
108:
104:
100:
96:
93:
90:
86:
82:
77:
72:
68:
64:
59:
54:
51:
47:
43:
38:
33:
19:
6536:Music dramas
6483:
6482:
6449:
6442:
6435:
6331:Museo Wagner
6308:
6304:Rhinemaidens
6296:
6284:
6257:
6250:
6192:
6184:
6165:
6156:
6149:
6142:Wagner Dream
6140:
6095:Minna Wagner
6080:Ludwig Geyer
6009:
5985:Holztrompete
5959:
5949:
5939:
5931:Die Hochzeit
5929:
5919:
5858:
5844:
5837:
5788:Kaisermarsch
5777:
5767:
5757:
5747:
5737:
5703:
5702:
5690:
5678:
5658:
5646:
5634:
5622:
5607:
5600:Music dramas
5579:
5567:
5555:
5533:
5526:
5519:
5436:
5432:Dresden amen
5424:
5400:
5393:
5374:
5366:
5358:
5322:
5321:
5278:
5270:
5269:List of all
5260:
5244:
5235:
5228:
5206:
5196:
5192:
5189:theosophical
5179:
5167:
5149:
5137:
5125:
5101:
5082:
5057:
5031:
5009:
4987:
4984:Magee, Bryan
4965:
4943:
4922:
4919:Rainer Riehn
4895:
4876:
4857:
4838:
4829:
4823:
4798:
4777:
4755:
4739:
4721:
4716:Magee, Bryan
4688:
4669:
4638:
4619:
4600:
4581:
4555:
4536:
4508:
4502:
4479:
4459:
4440:
4421:
4402:
4383:
4360:. Retrieved
4356:the original
4346:
4334:. Retrieved
4329:
4323:
4315:
4300:
4292:
4277:
4272:
4260:
4252:
4248:
4240:
4231:
4221:February 18,
4219:. Retrieved
4208:
4196:
4192:
4180:
4170:February 18,
4168:. Retrieved
4164:the original
4157:
4149:
4137:
4127:
4119:
4107:
4085:Magee (2002)
4080:
4068:
4056:
4029:
4017:
4005:
3993:
3981:
3969:
3957:
3950:Magee (2002)
3945:
3933:
3921:
3896:February 18,
3894:. Retrieved
3888:
3880:
3868:
3859:
3854:
3842:
3830:
3818:
3811:Magee (2002)
3806:
3794:
3773:
3761:
3753:
3745:
3737:
3729:
3717:
3698:
3694:
3685:
3669:
3661:
3649:
3607:
3597:February 18,
3595:. Retrieved
3585:
3566:
3561:
3549:
3537:
3526:
3514:. Retrieved
3508:
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3489:
3479:
3467:
3463:
3451:
3444:Magee (2002)
3439:
3427:
3420:Magee (2002)
3400:
3388:. Retrieved
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2832:. Retrieved
2826:
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2797:February 18,
2795:. Retrieved
2789:
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2734:
2725:. Retrieved
2721:the original
2716:
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2256:church bells
2254:, 4 onstage
2238:in F, three
2234:in F, three
2212:English horn
2199:
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2158:Richard Cohn
2150:chromaticism
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2035:
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2020:
2017:Nazi Germany
2012:
2010:
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2003:
1991:
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1980:Hermann Levi
1977:
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1164:Johanna Meta
1139:Albert Reiss
1102:Julius Bayer
1069:
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675:Please help
670:verification
667:
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602:Hermann Levi
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6511:1882 operas
6379:WikiProject
6235:3992 Wagner
6195:(1982 film)
6187:(1904 film)
6168:(1986 film)
6161:(2012 film)
6153:(1983 film)
6100:Nike Wagner
5990:Wagner tuba
5870:Other opera
5636:Die Walküre
5513:Early works
5427:discography
5259:Reviews of
5201:, 1992/1993
5006:Melitz, Leo
4738:(UK title:
4511:(1): 9–40.
4336:26 December
4301:Opera on CD
4297:Blyth, Alan
4265:Cohn (1996)
4245:David Lewin
4112:Bell (2013)
4034:Bell (2013)
3986:Bell (2013)
3847:Bell (2013)
3783:Rose (1992)
3766:Rose (1992)
3627:Bell (2013)
3556:, p. .
3544:, p. .
3516:18 February
3472:Martin Geck
3178:24 February
2856:. Collins.
2696: [
2488: [
2445:Tony Palmer
2372:Georg Solti
2319:discography
2252:tenor drums
2154:David Lewin
1988:King Ludwig
1964:Paul Lindau
1786:Bryan Magee
1751:The critic
1724: 1930
1467:Good Friday
1196:Eine Stimme
1185:Elsa Harris
1126:Max Mikorey
1116:two tenors
1097:Anton Fuchs
1015:Emil Scaria
1003:Gurnemanz,
941:Conductor:
933:Conductor:
898:Emil Scaria
882:Martha Mödl
502:short score
373:Good Friday
347:Good Friday
306:The Victors
270:Composition
183:Minnesänger
158:music drama
67:Emil Scaria
46:Music drama
6500:Categories
6280:Musikdrama
5978:Inventions
5961:Die Sieger
5846:Mein Leben
5569:Tannhäuser
5438:Die Sieger
5331:Characters
4825:Opera News
4215:"Parsifal"
3781:, passim,
3390:October 8,
2790:Die Sieger
2727:11 January
2650:Unger, Max
2582:References
2463:, and the
2310:Recordings
2082:Leitmotifs
1892:Peter Gast
1873:he wrote:
1713:motives: "
1711:classicist
1652:Mark Twain
1613:described
1611:Alban Berg
1363:Höllenrose
1357:Urteufelin
1262:Klingsor.
1256:Holy Spear
1200:contralto
1154:contraltos
1047:Klingsor,
1024:Amfortas,
927:Voice type
703:newspapers
692:"Parsifal"
434:and began
418:Mein Leben
338:Mein Leben
329:Die Sieger
319:Die Sieger
301:Die Sieger
220:Holy Grail
191:Old French
156:111) is a
131:1882-07-26
88:Librettist
6478:Lohengrin
6451:Willehalm
6420:Works by
6341:Wahnfried
6270:Leitmotif
6166:Wahnfried
5899:Liebestod
5648:Siegfried
5581:Lohengrin
5343:Gurnemanz
5263:on record
5176:Monsalvat
4330:CD Review
3837:, IV 635.
3789:, passim.
3672:. Verso,
3476:Egon Voss
3328:Cited in
3042:0035-2373
3009:1610-420X
2733:(Section
2676:0027-4666
2639:, p. 140.
2471:starring
2336:Karl Muck
2240:trombones
2216:clarinets
2146:analyzing
2114:Communion
2089:leitmotif
1894:, 1887).
1841:Nietzsche
1707:classical
1603:Max Reger
1586:Hugo Wolf
1547:Reactions
1252:Gurnemanz
1068:Titurel,
1059:Karl Hill
733:July 2020
507:particell
388:Lohengrin
288:Marienbad
212:Arthurian
6506:Parsifal
6484:Parsifal
6468:Feirefiz
6437:Parzival
6429:Romances
6359:Category
6193:Parsifal
6185:Parsifal
5796:Writings
5740:Overture
5704:Parsifal
5521:Die Feen
5425:Parsifal
5395:Parzival
5376:Parsifal
5360:Parsifal
5338:Parsifal
5323:Parsifal
5271:Parsifal
5261:Parsifal
5249:Archived
5245:Parsifal
5236:Parsifal
5229:Parzival
5211:Archived
5207:Parsifal
5193:Parsifal
5191:view of
5180:Parsifal
5168:Parsifal
5150:Parsifal
5138:Parsifal
5126:Parsifal
5054:(1966).
5030:(1989).
5008:(2001).
4986:(1997).
4921:(eds.).
4776:(1976).
4718:(2002).
4580:(1983).
4535:(2008).
4324:Parsifal
4299:(1992),
4249:Parsifal
4158:Parsifal
3889:Parsifal
3695:Parsifal
3668:(1952).
3231:Parsifal
3208:Parsifal
3172:AllMusic
3108:Parsifal
3028:(1987).
2560:Percival
2556:Parzival
2552:Parsifal
2510:See also
2469:Parsifal
2447:titled:
2427:Parsifal
2411:Parsifal
2396:Parsifal
2364:Parsifal
2360:Parsifal
2351:Parsifal
2328:Bayreuth
2324:Parsifal
2317:Parsifal
2287:Parsifal
2272:Parsifal
2236:trumpets
2224:bassoons
2214:, three
2206:, three
2200:Parsifal
2171:Parsifal
2142:Parsifal
2122:Tormotif
2106:Parsifal
2098:Parsifal
2094:Parsifal
2060:Parsifal
2052:Parsifal
2036:Parsifal
2021:Parsifal
2013:Parsifal
1992:Parsifal
1986:. Since
1960:Parsifal
1945:Parsifal
1940:Parsifal
1936:Parsifal
1918:Parsifal
1883:Parsifal
1878:Parsifal
1859:Parsifal
1850:Parsifal
1817:Parsifal
1799:Parsifal
1790:Parsifal
1770:Parsifal
1765:Parsifal
1761:Parsifal
1757:Parsifal
1747:contain.
1736:Parsifal
1732:Parsifal
1705:, using
1669:Parsifal
1660:Parsifal
1656:Parsifal
1635:Parsifal
1623:Parsifal
1615:Parsifal
1607:Parsifal
1594:Parsifal
1590:Parsifal
1582:Parsifal
1561:Parsifal
1553:Parsifal
1368:Herodias
1222:Synopsis
1112:soprano,
1031:baritone
975:Kundry,
950:Parsifal
868:Parsifal
843:Parsifal
824:Applause
818:Parsifal
798:Parsifal
777:Parsifal
769:Parsifal
633:Parsifal
622:Bayreuth
588:Premiere
576:Parsifal
536:Parsifal
466:libretti
462:libretto
458:Parsifal
454:Bayreuth
442:Parsifal
426:Parsifal
378:Parzival
343:Parsifal
324:Parsifal
296:Buddhism
284:Parzival
254:Parsifal
247:New York
239:Parsifal
231:Parsifal
216:Percival
204:trouvère
189:and the
177:Parzival
166:libretto
149:Parsifal
123:Premiere
111:Parzival
106:Based on
98:Language
40:Parsifal
6461:Related
6444:Titurel
6244:Related
6145:(opera)
5839:Leubald
5738:Polonia
5412:Related
5387:Sources
5198:Sunrise
5195:, from
4375:Sources
4362:13 July
2441:in 1982
2434:in 1951
2295:tam-tam
2268:strings
2248:timpani
2230:; four
2130:Dresden
2044:diaries
1835:Tristan
1821:Mitleid
1601:life."
1495:Scene 2
1438:Scene 1
1374:Scene 2
1338:Scene 1
1299:Scene 2
1238:Scene 1
1092:tenor,
982:soprano
954:a youth
717:scholar
618:Ravello
481:or the
371:... on
180:of the
129: (
79:at the
6551:Operas
6150:Wagner
5945:(1838)
5935:(1832)
5925:(1830)
5783:(1870)
5773:(1858)
5753:(1843)
5743:(1836)
5732:(1832)
5535:Rienzi
5379:(1982)
5371:(1951)
5363:(1904)
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2564:Parsi
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2204:flutes
1910:racism
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1578:Goethe
1551:Since
1152:three
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690:
578:, 1882
487:staves
413:Zürich
357:Zürich
314:castes
310:Buddha
101:German
18:Kundry
6369:Audio
5352:Films
4521:JSTOR
3777:E.g.
3481:Notes
3368:, by
2700:]
2680:JSTOR
2599:p. vi
2538:Notes
2492:]
2461:Siena
2334:era,
2264:harps
2232:horns
2208:oboes
2175:arias
2118:Grail
2066:Music
1996:rabbi
1932:Aryan
1867:. In
1419:Act 3
1319:Act 2
1227:Act 1
1114:alto,
1094:bass
1074:bass
959:tenor
923:Role
889:Roles
724:JSTOR
710:books
450:cycle
365:Minna
6473:Kyot
5187:, a
5106:ISBN
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4805:ISBN
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4760:ISBN
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4693:ISBN
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4624:ISBN
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3518:2010
3392:2007
3180:2016
3114:WQXR
3038:ISSN
3005:ISSN
2858:ISBN
2852:tr.
2836:2010
2799:2010
2729:2014
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