Parsifal - Knowledge

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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.

1232: 745: 1390:), 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 ( 1687: 2060: 1400:

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.

1368: 1293: 1987:). 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 823:

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.

1516:). 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 1489: 1960: 3536: 3524: 1510:). 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 ( 883: 1381:), 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. 1923:) 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 47: 6344: 1332: 648: 560: 1436: 6354: 6364: 2507: 5698: 5686: 5674: 5654: 5642: 5630: 5618: 5603: 5575: 5563: 5551: 1956:

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.

1800:, 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 1786:, 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 894: 1256: 868:

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.

379:, 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. 2355:

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.

617:. 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. 2495:. 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". 1756:

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.

1727:(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 523:) 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 1503:

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,

1532:). 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. 1845:

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.

498:) 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. 1343:

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

6393: 2043:, 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 1927:) 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 1359:, 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. 1375:

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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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.

630:) 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. 4117: 1573:

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.

634:, 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. 2109:. 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 2089:(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 764:, 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 614: 263: 214:

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

1243:, 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 449:. 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 6357: 1939:

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 (

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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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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

4490:(1996). "Maximally smooth cycles, hexatonic systems, and the analysis of Late-Romantic triadic progressions". 1548:, the first presentation in 1882 was attended by many notable figures. Reaction was varied. Some thought that 1292: 5813: 5595: 4548: 2342:

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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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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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

1993: 594: 6347: 6314: 6274: 6208: 6203: 5597: 5446: 2162:

was composed such that each act was a continuous flow of music; hence there are no free-standing

1858: 1822:("yearning"). Indeed, Wagner originally considered including Parsifal as a character in act 3 of 1773:

in 1854, and this deeply affected his thoughts and practice on music and art. Most writers (e.g.

809:

that it was presented in more than 50 European opera houses between 1 January and 1 August 1914.

658: 435: 142: 2997: 1454:

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

3372: 2379:) have been widely praised. The Karajan recording was voted "Record of the Year" in the 1981 798: 549:

already embodied all the compositional details of the full score, the actual drafting of the

5999: 5557: 1636:

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.

1336: 582: 5118: 3520:

Wikisource:Selected Letters of Friedrich Nietzsche#Nietzsche To Peter Gast – January, 1887

1880: 1235:

Gurnemanz and the squires, act 1, scene 1, in the 1903 performance of the work in New York

838:

to this day. Among the more significant post-war productions was that directed in 1951 by

581:

On 12 November 1880, Wagner conducted a private performance of the prelude for his patron

301:. The themes of self-renunciation, rebirth, compassion, and even exclusive social groups ( 8: 6218: 6113: 5841: 5834: 5040: 5016: 4903: 2376: 2368: 2335: 2063: 1834: 1770: 1761:

is an opera, call it a 'stage festival' or 'consecrational stage festival' if you will."

1695: 1691: 1653: 1639:

However, some notable guests of the Festival took a more acerbic view of the experience.

861: 349: 280: 2235:, 6 onstage trumpets in F, 6 onstage trombones; a percussion section that includes four 1585:

is without doubt by far the most beautiful and sublime work in the whole field of Art."

1488: 6298: 6240: 6045: 5792: 5668: 5186: 5173: 4709: 4509: 4467: 2668: 1959: 1910: 1814: 1666: 1497: 1296: 952: 897: 774: 749: 601:, who took their lead from Wagner himself. The Grail hall was based on the interior of 598: 419: 231: 158: 59: 2592:

Lohengrin, ein altteutsches Gedicht, nach der Abschrift des Vaticanischen Manuscriptes

2461: 2419: 2101:

The opening prelude introduces two important leitmotifs, generally referred to as the

705: 6494: 6146: 6015: 5757: 5636: 5569: 5283: 5275: 5094: 5075: 5067: 5052: 5026: 5002: 4980: 4958: 4936: 4888: 4869: 4850: 4831: 4793: 4770: 4748: 4732: 4716: 4681: 4662: 4654: 4631: 4612: 4593: 4574: 4552: 4529: 4473: 4452: 4433: 4414: 4395: 4376: 4293: 4270: 4112: 3722: 3691: 3662: 3654: 3563: 3026: 2993: 2846: 2660: 2643: 2621: 2607:, ed. Joachim Bergfeld, Atlantis Verlag, Zürich and Freiburg im Breisgau 1975, p. 52. 2453: 2441: 2343: 2090: 1940: 1909:

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.

2028: 1741: 1671: 1627: 1553: 1443: 882: 865: 602: 585:

at the Court Theatre in Munich. The premiere of the entire work was given in the

283:'s writings in 1854, Wagner became interested in Indian philosophies, especially 5244:, gallery of historic postcards with visual motives from Richard Wagner's operas 3781: 3457:

Dokumente zur Entstehung und ersten Aufführung des Bühnenweihfestspiels Parsifal

6098: 6053: 6005: 5747: 5469: 5306: 4957:. Documenta musicologica. Vol. II, 55. Kassel: Bärenreiter. pp. I–X. 4915: 4492: 2469: 2465: 2256: 1837:, who was originally a champion of Wagner and Schopenhauer, chose later to use 1619: 1439: 1155: 1149: 1071: 1029: 980: 839: 779: 150: 80: 51: 38: 5624: 4953:(2020). "Through compassion, knowing: the pure fool". In Ulrich Konrad (ed.). 2391:

originally made for Deutsche Grammophon, now reissued on Arts & Archives.

1598:

at Bayreuth I was fifteen. I cried for two weeks and then became a musician."

870: 441:, which was finally completed in 1874 and given its first full performance at 297:, 1856), a sketch Wagner wrote for an opera based on a story from the life of 171: 46: 6488: 6304: 6280: 6137: 6073: 5873: 5612: 5407: 4994: 4950: 4762: 3738: 3682:(2007). "Strange love; or, How we learned to stop worrying and love Wagner's 3030: 3014: 3001: 2664: 2484: 2288: 2279: 2264: 2216: 2208: 2173:") is occasionally performed in concert, as is Amfortas' lament from act 1 (" 1944: 1769:

Wagner had been greatly impressed with his reading of the German philosopher

1723:

has been both influential and controversial. The use of Christian symbols in

1656:, a committed Wagnerite, commented in 1894 that: "The opening performance of 1607: 1586: 1493: 1247:, once bequeathed to him into his guardianship, and the wound will not heal. 1108: 1042: 985: 975: 852: 848: 756:

For the first twenty years of its existence, the only staged performances of

478:, one for the voices and two for the instruments. The second complete draft ( 475: 384: 235: 5074:. Camden House Companion Volumes. New York: Camden House. pp. 277–338. 4628:

Richard Wagners Politische Theologie: Kunst zwischen Revolution und Religion

4310: 1818:, where Schopenhauer's influence is perhaps more obvious, with its focus on 1461:

A dark orchestral interlude leads into the solemn gathering of the knights.

6292: 6130: 6083: 6068: 5973: 5919: 5776: 5420: 4907: 4786: 4487: 2512: 2364: 2329: 2146: 2138: 2114: 2036: 2005: 1968: 1902: 1728: 1261:

Gurnemanz singing "Titurel, der fromme Held", excerpt from a 1942 recording

1195: 1127: 931: 923: 843: 819: 590: 353: 4430:

Wagner's Parsifal: An Appreciation in the Light of His Theological Journey

2547:

he had used up to 1877 was informed by one of the theories about the name

1643:

visited Bayreuth in 1891: "I was not able to detect in the vocal parts of

1614:

has transported me. Everything I do seems so cold and feeble by its side.

893: 6223: 6088: 5978: 4972: 4704: 4233: 3496: 3460: 2360: 2292: 2244: 2220: 2200: 2142: 2113:("Fool's motive"), have their own particular leitmotifs. Wagner uses the 1952: 1774: 1492:

End of act 3 in the original 1882 production (according to a painting by

1455: 1114: 1003: 886: 609:. In July and August 1882 sixteen performances of the work were given in 490: 361: 344:(German: "Asylum"), the small cottage on Otto Wesendonck's estate in the 335: 146: 55: 34: 5247: 5145:

Complete German and English libretti and Wagner's own stage descriptions

1299:: Design for the hall of the Grail (second scenes of acts 1 and 3), 1882 192: 6268: 5949: 5426: 4868:. Princeton, New Jersey: Princeton University Press. pp. 133–150. 4813: 4645:

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.

1244: 915: 672: in this section. Unsourced material may be challenged and removed. 298: 289: 208: 179: 4513: 3875: 3580: 2776: 2672: 1331: 1223:

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)

802: 311:, the knights of the Grail in Parsifal) which were later explored in 200: 1850:

opens the third essay ("What Is the Meaning of Ascetic Ideals?") of

647: 401: 345: 6456: 6425: 5509: 5383: 5326: 4505: 3160: 2656: 2228: 2204: 1435: 1356: 1019: 938: 610: 559: 454: 450: 442: 284: 204: 165: 154: 99: 1630:

that he had deleted a scene he had just written for his own opera

6432: 5827: 5438: 4004: 3793: 3102: 2641:(1932-08-01). "The Persian Origins of 'Parsifal' and 'Tristan'". 2236: 2224: 2212: 2118: 970: 855:, Richard Wagner's biographer described it as "not only the best 606: 4955:

Richard Wagner: Parsifal. Autograph Score. Facsimile. Commentary

4084: 4082: 842:, the composer's grandson. At the first Bayreuth Festival after 5523: 4543:

Fauser, Annegret (2008). "Wagnerism". In Thomas S. Grey (ed.).

4033: 4031: 1898: 6353: 2440:. It was recorded in various European theaters, including the 1059:

a retired king of the Kingdom of the Grail, father to Amfortas

4240:: The Tonal Spaces of the Drama and the Enharmonic Cb/B," in 4079: 3980: 3704: 3636: 3626: 3624: 2855: 2449: 2192: 1984: 1371:

Scene from Parsifal from the Victrola book of the opera, 1917

947: 302: 4028: 3438: 2930: 2794: 2506: 801:

in Barcelona: it began at 10:30pm Barcelona time, which was

230:

productions until 1903, when the opera was performed at the

6461: 4918:. Vol. 25. Munich: Text & Kritik. pp. 74–115. 4551:. Cambridge: Cambridge University Press. pp. 221–234. 3992: 2891: 2729: 2283: 2252: 2232: 2196: 2163: 1963:

German stamp showing Parsifal with the Grail, November 1933

4661:. Camden House Companion Volumes. New York: Camden House. 4167: 3944: 3920: 3621: 3611: 3609: 3476: 3120: 3037: 2954: 748:

Scene design for the controversial 1903 production at the

4745:

The Wagner Compendium: a Guide to Wagner's Life and Music

3908: 3898: 3896: 3414: 3387: 3251: 3227: 2918: 2456:. It contains extracts from Palmer's stage production of 589:

on 26 July 1882 conducted by the Jewish-German conductor

369:. Since the sojourn in Marienbad , where I had conceived 5167:, Derrick Everett's extensive website on all aspects of 4528:. Berkeley, California: University of California Press. 4192:. Collins, 1980. Entries for 11 August, 5 December 1877. 4055: 3956: 3932: 3817: 3049: 2942: 2756: 2594:

by Ferdinand Gloeckle. Mohr und Zimmer, Heidelberg 1813.

2263:

is one of only two works by Wagner in which he used the

1239:

In a forest near the seat of the Grail and its knights,

226:

in 1882. The Bayreuth Festival maintained a monopoly on

4413:. Oakland, California: University of California Press. 4043: 4016: 3968: 3606: 3336: 3324: 3287: 3275: 3263: 3239: 2908: 2906: 2004:

was denounced as being "ideologically unacceptable" in

1674:

traveled to the Bayreuth Festival at the invitation of

834:

is one of the Wagner operas regularly presented at the

5305: 5161:

by Alunno Marco, mediamusic-journal.com, 26 March 2013

4124: 3893: 3299: 2966: 1983:

being conducted by a Jew (Levi's father was in fact a

4451:. Princeton, New Jersey: Princeton University Press. 3855: 3748: 3594: 3108: 3061: 2879: 2867: 2605:

Das braune Buch. Tagebuchaufzeichnungen 1865 bis 1882

1520:

of all the knights praises the miracle of salvation (

4236:, "Amfortas' Prayer to Titurel and the Role of D in 4067: 3473:, 2nd series, vol. 28, no. 4 (June 1972), pp. 685 f. 3426: 3175: 2903: 2502: 199:, recounting different accounts of the story of the 6408: 5119:

Wagner's autograph in the Richard Wagner Foundation

5066:Syer, Katherine R. (2005). "Parsifal on Stage". In 4887:. Lincoln, Nebraska: University of Nebraska Press. 4695:Kinderman, William. "The Genesis of the Music". In 4244:(New York: Oxford University Press, 2006), 183–200. 4094: 3829: 2724:

What is a Stage-Consecrating Festival-Play, Anyway?

1919:. Parsifal is proposed as the "pure-blooded" (i.e. 5044: 4785: 4708: 429:. Then, between 27 and 30 August 1865, he took up 4849:. New Haven, Connecticut: Yale University Press. 4792:. New Haven, Connecticut: Yale University Press. 4472:. New Haven, Connecticut: Yale University Press. 4375:. Lanham, Maryland: University Press of America. 4247: 3078: 3076: 2750:, "Sinology," Footnote listing books on Buddhism 2398:, music critic David Nice surveyed recordings of 157:for the work is freely based on the 13th-century 6486: 5821:Das Judenthum in der Musik (Jewishness in Music) 3494: 3000:Kiel, Germany, 2012, citing the dissertation by 1526:) and proclaims the redemption of the Redeemer ( 508:of act 3 was completed on 16 April 1879 and the 417:for eight years, during which time he completed 6264:List of films using the music of Richard Wagner 6165: 4931:Burbidge, Peter; Sutton, Richard, eds. (1979). 4885:Richard Wagner and the Anti-Semitic Imagination 4590:Richard Wagner: The Man, His Mind and His Music 4571:Richard Wagner: His Life, His Work, His Century 2432:. There is also a 1998 documentary directed by 2338:was the conductor most closely associated with 1748:even at the premiere: "The question of whether 1681: 851:. The reaction to this production was extreme: 778:in the Teatro Coliseo, on June 20, 1913, under 752:: Gurnemanz leads Parsifal to Monsalvat (act 1) 404:. If the prose sketch which Wagner mentions in 3690:. Cambridge University Press. pp. 65–83. 3073: 2551:, according to which it is of Persian origin, 2167:act 3, scene 1. Kundry's long solo in act 2 (" 2141:of late 19th century music. Theorists such as 1874:as an attempted assassination of basic ethics. 1458:, when all the world is purified and renewed. 818:audience and said that the cast would take no 6394: 6254:International Association of Wagner Societies 5865: 5454: 5291: 4769:. Cambridge, UK: Cambridge University Press. 4696: 4653: 4646: 4565: 4394:. Cambridge, UK: Cambridge University Press. 3082: 3013: 2936: 2912: 2800: 2735: 2620:, Königshausen & Neumann, Würzburg 2007, 2359:Amongst other recordings, those conducted by 1897:Some writers see in the opera a promotion of 1804:(act 3, scene 1). When viewed in this light, 5091:Disturbing the Universe: Wagner's Musikdrama 4142: 3873: 3578: 2774: 2487:. In also includes interviews with Domingo, 2396:BBC Radio 3's CD Review – Building a Library 2174: 2168: 2008:and that the Nazis placed a de facto ban on 1703: 1606:in 1909 as "magnificent, overwhelming", and 1527: 1521: 1511: 1505: 1446:as Parsifal in act 3, scene 1, Bayreuth 1889 1391: 1385: 1376: 1350: 1344: 1203:Knights of the Grail, squires, flowermaidens 625: 550: 544: 534: 528: 518: 509: 503: 479: 461: 434:Wagner's creative energy was devoted to the 405: 370: 339: 325: 316: 306: 246: 63: 4201: 3370: 2812: 2039:too had apparently some reservations about 267:Drawing for a libretto cover page (undated) 6401: 6387: 5501: 5461: 5447: 5298: 5284: 4847:Bayreuth: a History of the Wagner Festival 4742: 4630:. Paderborn, Germany: Ferdinand Schöning. 4520: 4446: 4343:. Presto Classical Limited. Archived from 4088: 3986: 3811: 3787: 3710: 3678: 3642: 2924: 2897: 2861: 2762: 1916:Essay on the Inequality of the Human Races 1744:objected to the religious air surrounding 45: 5132:International Music Score Library Project 4694: 4675: 4118:Aufführungen sortiert nach Inszenierungen 4061: 4049: 4037: 3962: 3153: 2680:Unger draws on the abstract of a book by 2383:. Also highly regarded is a recording of 2367:(with the Metropolitan Opera Orchestra), 1812:("compassion") is a natural follow-on to 1387:"Ich sah das Kind an seiner Mutter Brust" 732:Learn how and when to remove this message 4901: 4806: 4606: 4370: 3998: 3767: 3404: 3402: 3393: 3342: 3330: 3293: 3281: 3269: 3257: 3245: 3233: 3181: 3139:Kluge, Andreas (1992). "Parsifal 1951". 2315:was expressly composed for the stage at 2058: 1958: 1685: 1569:'and you can say you were present'. The 1487: 1434: 1423:Musical introduction of c. 4–6 minutes. 1366: 1330: 1323:Musical introduction of c. 2–3 minutes. 1291: 1253: 1230: 892: 881: 826: 743: 624:, problems with the moving scenery (the 558: 453:(or "poem", as Wagner liked to call his 356:had moved into the cottage on 28 April: 262: 4825: 4644: 4625: 4465: 4389: 4010: 3950: 3926: 3630: 3482: 3444: 3305: 3126: 3067: 3055: 3043: 2972: 2960: 2948: 2885: 2873: 637: 153:and his last composition. Wagner's own 6487: 4882: 4863: 4844: 4761: 4587: 4542: 4411:Beyond Reason: Wagner contra Nietzsche 4408: 4173: 4130: 3914: 3902: 3861: 3823: 3790:, pp. 245–246, 249, 255, 367–368. 3775: 3600: 3542: 3530: 3420: 3318: 3114: 2158:As is common in mature Wagner operas, 1594:simply noted that "When I first heard 1335:Parsifal and Kundry, two paintings by 571: 563:Poster for the premiere production of 6382: 5442: 5279: 4809:"Martha Mödl: 'Portrait of a Legend'" 4703: 4680:. New York: Oxford University Press. 4449:Drama and the World of Richard Wagner 4341:"Parsifal – The Search for the Grail" 4224:Cosima Wagner's diary, 1 August 1881. 4073: 3938: 3799: 3556:Drama and the World of Richard Wagner 3432: 3408: 3399: 3138: 2637: 2616:Danielle Buschinger, Renate Ullrich, 2394:On the 14 December 2013 broadcast of 1991:performed in the role of Amfortas at 1905:. One line of argument suggests that 149:in three acts by the German composer 5227:on Stage: a PDF by Katherine R. Syer 5216:Summary of Wolfram von Eschenbach's 5147:, excerpts of the score, rwagner.net 5047:The World as Will and Representation 4783: 4486: 4427: 4253: 4100: 4022: 3974: 3835: 3771: 3754: 3615: 3143:(Media notes). Teldec. 9031-76047-2. 2412:staged performances available on DVD 2375:(the latter two both conducting the 1913:, expressed most extensively in his 1544:could initially only be seen at the 900:as Parsifal with flowermaidens, 1882 670:adding citations to reliable sources 641: 6545:Race-related controversies in opera 6363: 4657:; Syer, Katherine R., eds. (2005). 3205:. L'Almanacco di Gherardo Casaglia 2438:Parsifal – The Search for the Grail 2153: 1507:"Geleiten wir im bergenden Schrein" 928:Met premiere cast, 24 December 1903 13: 5468: 4924: 2405: 2182: 1967:The conductor of the premiere was 527:one act at a time, completing the 271:Wagner read von Eschenbach's poem 207:) and his spiritual quest for the 14: 6556: 5108: 4545:The Cambridge Companion to Wagner 4469:Wagner and the Art of the Theatre 4432:. Eugene, Oregon: Cascade Books. 3361:, Phaidon Press, 1995, pp. 57–58. 2016:The Myth of the Twentieth Century 1560:On the other hand, the conductor 1393:"Amfortas! Die Wunde! Die Wunde!" 543:of the next act; but because the 539:of each act before beginning the 222:was first produced at the second 6362: 6352: 6343: 6342: 5930:Männerlist größer als Frauenlist 5696: 5684: 5672: 5652: 5640: 5628: 5616: 5601: 5573: 5561: 5549: 5391:Perceval, the Story of the Grail 5072:A Companion to Wagner's Parsifal 4935:. Faber and Faber Ltd., London. 4659:A Companion to Wagner's Parsifal 4333: 4311:"Wagner 200 Building a Library: 4308: 4302: 4279: 4259: 4227: 4218: 4195: 4179: 4136: 3467:. Reviewed by Richard Evidon in 2752:s:On the Will in Nature#SINOLOGY 2505: 2047:between 1939 and 1942. However, 1886: 1015:King of the Kingdom of the Grail 785:Bayreuth lifted its monopoly on 646: 5270:, constructed by Andrew Gourlay 5093:. Edinburgh: Candle Row Press. 4999:The Opera Goer's Complete Guide 4747:. London: Thames & Hudson. 4743:Millington, Barry, ed. (1992). 4106: 3867: 3841: 3760: 3732: 3716: 3672: 3648: 3572: 3548: 3513: 3488: 3450: 3364: 3348: 3311: 3212: 3187: 3147: 3132: 3088: 3007: 2978: 2831: 2806: 2768: 2618:Das Mittelalter Richard Wagners 2129:Many music theorists have used 2124: 1826:, but later rejected the idea. 1764: 657:needs additional citations for 514:on the 26th of the same month. 324:According to his autobiography 62:in the first production of the 6325:Richard Wagner Museum, Lucerne 5681:Die Meistersinger von Nürnberg 4977:The Philosophy of Schopenhauer 4371:Aberbach, Aland David (2003). 4145:"Introduction to the Music of 2741: 2694: 2631: 2610: 2597: 2577: 2563:meaning "pure (or poor) fool". 2533: 2418:was adapted for the screen by 1664:During a break from composing 994:an elderly knight of the Grail 502:elaboration of the music. The 474:) was made in pencil on three 426:Die Meistersinger von Nürnberg 413:Wagner did not resume work on 258: 1: 5814:A Communication to My Friends 4592:. Harcourt Brace Jovanovich. 4549:Cambridge Companions to Music 3814:, pp. 245–246, 249, 255. 2570: 2298: 2070: 1971:, the court conductor at the 1709: 620:At the first performances of 466:and in English as either the 187:Perceval ou le Conte du Graal 16:Music drama by Richard Wagner 5159:on TV: Met and Festspielhaus 5070:; Katherine R. Syer (eds.). 4784:Rose, Paul Lawrence (1992). 4526:Wagner: Beyond Good and Evil 3802:, pp. 279–280, 371–380. 3774:, pp. 135, 158–169 and 3095:"Pondering the Mysteries of 3025:(in French) (156): 359–383. 2491:, writers Robert Gutman and 2278:in Bayreuth, Wagner had the 1997:, causing some controversy. 1853:On the Genealogy of Morality 1829: 1682:Interpretation and influence 1535: 383:However, as his second wife 352:. The composer and his wife 338:morning, April 1857, in the 287:. Out of this interest came 279:in 1845. After encountering 7: 6064:Houston Stewart Chamberlain 6021:Bayreuth Festival Orchestra 5481:List of works for the stage 5272:, published by Schott Music 4979:. Oxford: Clarendon Press. 4830:. London: Faber and Faber. 4788:Wagner: Race and Revolution 4697:Kinderman & Syer (2005) 4676:Kinderman, William (2013). 4647:Kinderman & Syer (2005) 4447:Borchmeyer, Dieter (2003). 4373:The Ideas of Richard Wagner 3554:Borchmeyer, Dieter (2003). 3023:Revue d'Histoire du Théâtre 2498: 2410:In addition to a number of 2133:to explore difficulties in 2105:theme and the theme of the 1378:"Komm, komm, holder Knabe!" 1210: 920:Premiere cast, 26 July 1882 812: 576: 275:while taking the waters at 10: 6561: 6520:Libretti by Richard Wagner 5738:Das Liebesmahl der Apostel 5022:On the Genealogy of Morals 4767:The Life of Richard Wagner 4363: 4242:Studies in Music with Text 4013:, pp. 91–95, 128–130. 3560:Princeton University Press 3193:Casaglia, Gherardo (2005). 2691:which was never published. 2302: 1890: 1690:Scene design for act 3 by 805:. Such was the demand for 791:Teatro Comunale di Bologna 18: 6530:Operas adapted into films 6449: 6417: 6338: 6232: 6196: 6122: 6044: 6036:Richard Wagner Foundation 5991: 5966: 5901: 5858: 5800:The Artwork of the Future 5784: 5711: 5588: 5537: 5494: 5476: 5400: 5375: 5340: 5319: 4845:Spotts, Frederic (1994). 4826:Spencer, Stewart (2000). 4609:Bayreuth: The Early Years 4607:Hartford, Robert (1980). 4466:Carnegy, Patrick (2006). 3686:". In Julie Brown (ed.). 3224:, Met performance details 2239:(requiring two players), 2175: 2169: 2023:expressed the view that " 2000:It has been claimed that 1704: 1528: 1523:"Höchsten Heiles Wunder!" 1522: 1512: 1506: 1392: 1386: 1377: 1201: 789:on 1 January 1914 in the 315:were first introduced in 253:Richard Wagner Foundation 111: 94: 86: 76: 44: 33: 28: 21:Parsifal (disambiguation) 6535:Operas by Richard Wagner 5910:Die Laune des Verliebten 5137:Complete vocal score of 4912:Richard Wagner: Parsifal 4883:Weiner, Marc A. (1997). 4807:Shengold, David (2012). 4588:Gutman, Robert (1990) . 4392:Richard Wagner: Parsifal 4121:, retrieved 2 April 2017 2990:Lexikon der Filmbegriffe 2682:Friedrich von Suhtscheck 2526: 2054: 1407: 1307: 1215: 966:a messenger of the Grail 877: 593:. Stage designs were by 245:not as an opera, but as 6315:Wagner-Werk-Verzeichnis 6275:Nietzsche contra Wagner 6209:Richard Wagner Memorial 6204:Richard Wagner Monument 5598:Der Ring des Nibelungen 5546:Der fliegende Holländer 4715:. New York: Owl Books. 4626:Hofmann, Peter (2003). 4265:Holloway, Robin (1982) 4186:Cosima Wagner's Diaries 3498:Nietzsche contra Wagner 2839:Cosima Wagner's Diaries 2211:in B-flat and A, three 2013:work. In his 1930 book 1859:Nietzsche contra Wagner 1808:, with its emphasis on 1529:"Erlösung dem Erlöser!" 1478:Titurel's Funeral March 1464:Orchestral interlude – 1318:Klingsor's Magic Castle 1314:Klingsors Zauberschloss 1276:Orchestral interlude – 803:an hour behind Bayreuth 248:Ein Bühnenweihfestspiel 6510:German-language operas 6411:Wolfram von Eschenbach 6026:Bayreuth Festspielhaus 5262:conductors at Bayreuth 5089:Vernon, David (2021). 5001:. London: Best Books. 4428:Bell, Richard (2013). 4409:Berger, Karol (2017). 4390:Beckett, Lucy (1981). 3688:Western Music and Race 3495:Nietzsche, Friedrich. 2837:Wagner, Cosima (1980) 2067: 1964: 1876: 1738: 1716: 1618:is really something." 1513:"Nur eine Waffe taugt" 1500: 1496:), original design by 1447: 1372: 1351: 1345: 1340: 1300: 1262: 1236: 901: 890: 762:Bayreuth Festspielhaus 753: 626: 613:conducted by Levi and 587:Bayreuth Festspielhaus 568: 551: 545: 535: 529: 519: 510: 504: 480: 462: 406: 398: 381: 371: 340: 326: 317: 307: 268: 247: 216:Bayreuth Festspielhaus 176:Wolfram von Eschenbach 127:Bayreuth Festspielhaus 116:26 July 1882 106:Wolfram von Eschenbach 64: 6515:Holy Grail in fiction 6287:The Perfect Wagnerite 5881:Ride of the Valkyries 5807:Autobiographic Sketch 4729:Wagner and Philosophy 4567:Gregor-Dellin, Martin 3447:, pp. 92–93, 98. 3019:"La Wandeldekoration" 2984:Heinz-Hermann Meyer. 2748:On the Will in Nature 2539:Wagner's spelling of 2427:Hans-Jürgen Syberberg 2207:in B-flat and A, one 2062: 1962: 1891:Further information: 1864: 1733: 1689: 1491: 1438: 1370: 1334: 1295: 1260: 1234: 896: 885: 827:Post-war performances 799:Gran Teatre del Liceu 747: 632:Engelbert Humperdinck 562: 389: 358: 266: 5486:List of compositions 5194:Programme notes for 5041:Schopenhauer, Arthur 5017:Nietzsche, Friedrich 4933:The Wagner Companion 4866:Wagner and His World 4206:. New York: Schirmer 3375:. The Wagner Library 3083:Gregor-Dellin (1983) 2937:Gregor-Dellin (1983) 2913:Gregor-Dellin (1983) 2801:Gregor-Dellin (1983) 2736:Gregor-Dellin (1983) 2267:. (The other is the 2045:Deutsche Oper Berlin 1893:Wagner controversies 1719:Wagner's last work, 1705:Nur eine Waffe taugt 1633:Pelléas et Melisande 1470:Transformation music 1418:Parsifal's Wandering 1337:Rogelio de Egusquiza 1282:Transformation music 666:improve this article 638:Ban outside Bayreuth 583:Ludwig II of Bavaria 472:first complete draft 190:by the 12th-century 19:For other uses, see 6219:Wagner Ice Piedmont 6123:Cultural depictions 6114:Eva Wagner-Pasquier 5940:Wieland der Schmied 5842:Music of the Future 5718:Symphony in C major 5254:, by Geoffrey Riggs 5051:. New York: Dover. 4904:Heinz-Klaus Metzger 4699:, pp. 133-175. 4611:. Victor Gollancz. 4573:. William Collins. 4176:, pp. 136–139. 4091:, pp. 173–174. 4040:, pp. 174–175. 4025:, pp. 230–231. 4001:, pp. 321–324. 3989:, pp. 238–260. 3977:, pp. 269–270. 3953:, pp. 133–138. 3941:, pp. 264–285. 3929:, pp. 267–291. 3917:, pp. 339–345. 3713:, pp. 166–169. 3659:In Search of Wagner 3645:, pp. 257–259. 3633:, pp. 287–288. 3618:, pp. 131–132. 3581:"Parsifal and race" 3501:. Project Gutenberg 3485:, pp. 113–120. 3459:by Richard Wagner, 3423:, pp. 341–342. 3129:, pp. 288–290. 3046:, pp. 268 ff.. 2963:, pp. 107–118. 2864:, pp. 135–136. 2819:. Project Gutenberg 2706:Seattle Opera House 2702:"Parsifal Synopsis" 2387:under the baton of 2377:Berlin Philharmonic 2369:Herbert von Karajan 2336:Hans Knappertsbusch 2064:Margaret Matzenauer 2019:the Nazi ideologue 1835:Friedrich Nietzsche 1771:Arthur Schopenhauer 1654:George Bernard Shaw 1474:Titurels Totenfeier 1412:Prelude to act 3 – 1312:Prelude to act 2 – 1178:Marcia Van Dresser 908: 862:Hans Knappertsbusch 572:Performance history 552:Partiturerstschrift 520:Partiturerstschrift 350:Mathilde Wesendonck 330:, Wagner conceived 281:Arthur Schopenhauer 65:Bühnenweihfestspiel 6299:Der Ring in Minden 6241:The Case of Wagner 6000:Bayreuther Blätter 5793:Art and Revolution 5712:Non-operatic music 5669:Tristan und Isolde 5240:2019-08-13 at the 5202:2020-07-16 at the 4655:Kinderman, William 4649:, pp. 81-130. 4155:on October 4, 2011 4143:Everett, Derrick. 3874:Everett, Derrick. 3849:Of Gods and Demons 3579:Everett, Derrick. 3411:, pp. 371–380 3373:"Religion and Art" 3222:, 24 December 1903 2986:"Wandeldekoration" 2777:"Prose Sketch for 2775:Everett, Derrick. 2068: 1965: 1911:Arthur de Gobineau 1815:Tristan und Isolde 1717: 1667:The Rite of Spring 1501: 1498:Paul von Joukowsky 1448: 1414:Parsifals Irrfahrt 1373: 1341: 1301: 1297:Paul von Joukowsky 1263: 1237: 1183:Voice from Above, 1176:Lillian Heidelbach 1136:Six flowermaidens 1119:Adolf von Hübbenet 1078:Two Grail knights 953:Hermann Winkelmann 904: 902: 898:Hermann Winkelmann 891: 889:as Gurnemanz, 1883 775:Metropolitan Opera 760:took place in the 754: 750:Metropolitan Opera 599:Paul von Joukowsky 569: 420:Tristan und Isolde 269: 232:Metropolitan Opera 197:Chrétien de Troyes 159:Middle High German 60:Hermann Winkelmann 6482: 6481: 6376: 6375: 6192: 6191: 6016:Bayreuth Festival 5992:Bayreuth Festival 5987: 5986: 5962: 5961: 5955: 5954:(1858; text only) 5945: 5944:(1850; text only) 5935: 5925: 5915: 5902:Unfinished operas 5897: 5896: 5773: 5763: 5758:Wesendonck Lieder 5753: 5752:(1844, rev. 1855) 5743: 5733: 5722: 5707: 5706: 5663: 5662: 5584: 5583: 5533: 5532: 5436: 5435: 5232:Richard Wagner – 5174:Essay by Rolf May 5068:William Kinderman 5025:. Vintage Books. 4964:978-3-7618-2418-4 4875:978-0-691-14366-8 4828:Wagner Remembered 4799:978-0-300-06745-3 4731:, Penguin Books, 4711:The Tristan Chord 4687:978-0-19-536692-1 4678:Wagner's Parsifal 4558:978-0-521-64439-6 4535:978-0-520-25453-4 4439:978-1-62032-885-9 4292:Kyle Cathie Ltd, 4269:, Harper and Row 4202:Wagner, Richard. 4113:Bayreuth Festival 4089:Deathridge (2008) 3987:Borchmeyer (2003) 3876:"The 1939 Ban on 3812:Borchmeyer (2003) 3788:Borchmeyer (2003) 3757:, pp. 168 f. 3745:, Dobell, 1899. . 3743:A Study of Wagner 3729:, Schirmer, 1904. 3723:Hans von Wolzogen 3711:Deathridge (2008) 3697:978-0-521-83887-0 3643:Borchmeyer (2003) 3396:, pp. 127 f. 3371:Wagner, Richard. 3260:, pp. 176 f. 3236:, pp. 126 f. 3101:by Fred Plotkin, 3058:, pp. 93–95. 2951:, pp. 90 f.. 2925:Millington (1992) 2915:, pp. 477 f. 2900:, pp. 147 f. 2898:Millington (1992) 2862:Millington (1992) 2843:Skelton, Geoffrey 2816:Mein Leben vol II 2813:Wagner, Richard. 2763:Millington (1992) 2651:(1074): 703–705. 2644:The Musical Times 2626:978-3-8260-3078-9 2454:Bayreuth Festival 2442:Mariinsky Theatre 2381:Gramophone Awards 2344:Bayreuth Festival 2091:Hans von Wolzogen 1941:Hans von Wolzogen 1802:Good Friday Spell 1793:Good Friday Spell 1562:Felix Weingartner 1546:Bayreuth Festival 1466:Verwandlungsmusik 1278:Verwandlungsmusik 1258: 1220:Prelude to act 1 1208: 1207: 1192:Sophie Dompierre 1067:August Kindermann 1025:Theodor Reichmann 958:Alois Burgstaller 836:Bayreuth Festival 795:Giuseppe Borgatti 742: 741: 734: 716: 468:preliminary draft 372:Die Meistersinger 241:Wagner described 224:Bayreuth Festival 203:knight Parzival ( 183:chivalric romance 162:chivalric romance 134: 133: 70:Bayreuth Festival 6552: 6505:Arthurian operas 6403: 6396: 6389: 6380: 6379: 6366: 6365: 6356: 6346: 6345: 6197:Named for Wagner 6166:Film adaptations 6163: 6162: 6094:Siegfried Wagner 6079:Katharina Wagner 5964: 5963: 5953: 5943: 5933: 5923: 5913: 5899: 5898: 5863: 5862: 5771: 5761: 5751: 5741: 5731: 5720: 5700: 5688: 5676: 5656: 5644: 5632: 5620: 5605: 5593: 5592: 5586: 5585: 5577: 5565: 5553: 5535: 5534: 5517:Das Liebesverbot 5499: 5498: 5463: 5456: 5449: 5440: 5439: 5300: 5293: 5286: 5277: 5276: 5206:by Luke Berryman 5151:English libretto 5130:: Scores at the 5104: 5085: 5081:978-157113-457-8 5062: 5050: 5036: 5012: 4990: 4968: 4946: 4919: 4898: 4879: 4860: 4841: 4822: 4803: 4791: 4780: 4758: 4726: 4714: 4700: 4691: 4672: 4668:978-157113-457-8 4650: 4641: 4622: 4603: 4584: 4562: 4539: 4522:Deathridge, John 4517: 4483: 4462: 4443: 4424: 4405: 4386: 4357: 4356: 4354: 4352: 4347:on 2 August 2016 4337: 4331: 4330: 4328: 4326: 4306: 4300: 4283: 4277: 4263: 4257: 4251: 4245: 4231: 4225: 4222: 4216: 4215: 4213: 4211: 4199: 4193: 4190:Geoffrey Skelton 4183: 4177: 4171: 4165: 4164: 4162: 4160: 4151:. Archived from 4140: 4134: 4128: 4122: 4110: 4104: 4098: 4092: 4086: 4077: 4071: 4065: 4062:Kinderman (2005) 4059: 4053: 4050:Kinderman (2013) 4047: 4041: 4038:Kinderman (2005) 4035: 4026: 4020: 4014: 4008: 4002: 3996: 3990: 3984: 3978: 3972: 3966: 3963:Kinderman (2013) 3960: 3954: 3948: 3942: 3936: 3930: 3924: 3918: 3912: 3906: 3900: 3891: 3890: 3888: 3886: 3871: 3865: 3859: 3853: 3845: 3839: 3833: 3827: 3821: 3815: 3809: 3803: 3797: 3791: 3785: 3779: 3764: 3758: 3752: 3746: 3736: 3730: 3720: 3714: 3708: 3702: 3701: 3680:Deathridge, John 3676: 3670: 3652: 3646: 3640: 3634: 3628: 3619: 3613: 3604: 3598: 3592: 3591: 3589: 3587: 3576: 3570: 3552: 3546: 3540: 3534: 3528: 3522: 3517: 3511: 3510: 3508: 3506: 3492: 3486: 3480: 3474: 3454: 3448: 3442: 3436: 3430: 3424: 3418: 3412: 3406: 3397: 3391: 3385: 3384: 3382: 3380: 3368: 3362: 3352: 3346: 3340: 3334: 3328: 3322: 3315: 3309: 3303: 3297: 3291: 3285: 3279: 3273: 3267: 3261: 3255: 3249: 3243: 3237: 3231: 3225: 3216: 3210: 3208: 3202: 3191: 3185: 3179: 3173: 3172: 3170: 3168: 3151: 3145: 3144: 3141:Wagner: Parsifal 3136: 3130: 3124: 3118: 3112: 3106: 3092: 3086: 3080: 3071: 3065: 3059: 3053: 3047: 3041: 3035: 3034: 3011: 3005: 2982: 2976: 2970: 2964: 2958: 2952: 2946: 2940: 2934: 2928: 2922: 2916: 2910: 2901: 2895: 2889: 2883: 2877: 2871: 2865: 2859: 2853: 2835: 2829: 2828: 2826: 2824: 2810: 2804: 2798: 2792: 2791: 2789: 2787: 2772: 2766: 2760: 2754: 2745: 2739: 2733: 2727: 2721: 2719: 2717: 2708:. Archived from 2698: 2692: 2690: 2679: 2635: 2629: 2614: 2608: 2603:Richard Wagner, 2601: 2595: 2586:, "Einleitung", 2581: 2564: 2537: 2515: 2510: 2509: 2482: 2446:Ravello Festival 2373:Daniel Barenboim 2191:calls for three 2178: 2177: 2172: 2171: 2170:Ich sah das Kind 2154:Notable excerpts 2021:Alfred Rosenberg 1714: 1711: 1707: 1706: 1692:Arnaldo dell'Ira 1676:Sergei Diaghilev 1531: 1530: 1525: 1524: 1515: 1514: 1509: 1508: 1395: 1394: 1389: 1388: 1380: 1379: 1354: 1349:), Hell's Rose ( 1348: 1259: 1170:Ernesta Delsarta 1146:or six sopranos 1139:three sopranos, 1093:Adolph Mühlmann 1038:an evil magician 909: 907: 903: 793:in Bologna with 737: 730: 726: 723: 717: 715: 674: 650: 642: 629: 627:Wandeldekoration 554: 548: 538: 532: 522: 517:The full score ( 513: 507: 486:orchestral draft 483: 465: 409: 395: 374: 343: 329: 320: 310: 250: 123: 121: 67: 49: 26: 25: 6560: 6559: 6555: 6554: 6553: 6551: 6550: 6549: 6485: 6484: 6483: 6478: 6445: 6413: 6407: 6377: 6372: 6334: 6248:Gesamtkunstwerk 6228: 6214:Wagner (crater) 6188: 6161: 6118: 6109:Wolfgang Wagner 6104:Winifred Wagner 6059:Eva Chamberlain 6040: 6031:Jahrhundertring 6011:Bayreuth Circle 5983: 5958: 5893: 5854: 5849:Opera and Drama 5780: 5768:Siegfried Idyll 5703: 5659: 5649:Götterdämmerung 5580: 5538:Romantic operas 5529: 5495:Complete operas 5490: 5472: 5467: 5437: 5432: 5396: 5371: 5357:The Evil Forest 5336: 5315: 5304: 5242:Wayback Machine 5204:Wayback Machine 5111: 5101: 5088: 5082: 5065: 5059: 5039: 5033: 5015: 5009: 4993: 4987: 4971: 4965: 4949: 4943: 4930: 4927: 4925:Further reading 4922: 4895: 4876: 4857: 4838: 4800: 4777: 4755: 4723: 4688: 4669: 4638: 4619: 4600: 4581: 4559: 4536: 4480: 4459: 4440: 4421: 4402: 4383: 4366: 4361: 4360: 4350: 4348: 4339: 4338: 4334: 4324: 4322: 4307: 4303: 4284: 4280: 4267:Opera on Record 4264: 4260: 4252: 4248: 4232: 4228: 4223: 4219: 4209: 4207: 4200: 4196: 4184: 4180: 4172: 4168: 4158: 4156: 4141: 4137: 4129: 4125: 4111: 4107: 4099: 4095: 4087: 4080: 4072: 4068: 4060: 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1895: 1889: 1832: 1767: 1742:Eduard Hanslick 1712: 1684: 1672:Igor Stravinsky 1628:Ernest Chausson 1554:Eduard Hanslick 1538: 1518:chorus mysticus 1444:Ernest van Dyck 1442:as Kundry with 1410: 1339:, 1910 and 1906 1310: 1254: 1218: 1213: 1177: 1175: 1173: 1171: 1169: 1168:Isabelle Bouton 1164: 1162: 1158: 1154: 1152: 1145: 1140: 1130: 1126: 1124: 1123:Katherine Moran 1117: 1113: 1111: 1104: 1102: 1092: 1087: 1082: 973: 929: 921: 905: 880: 866:dress rehearsal 829: 815: 738: 727: 721: 718: 675: 673: 663: 651: 640: 603:Siena Cathedral 579: 574: 546:Orchesterskizze 536:Orchesterskizze 511:Orchesterskizze 481:Orchesterskizze 393: 261: 130: 129: 124: 119: 117: 103: 72: 24: 17: 12: 11: 5: 6558: 6548: 6547: 6542: 6537: 6532: 6527: 6522: 6517: 6512: 6507: 6502: 6497: 6480: 6479: 6477: 6476: 6469: 6464: 6459: 6453: 6451: 6447: 6446: 6444: 6443: 6436: 6429: 6421: 6419: 6415: 6414: 6406: 6405: 6398: 6391: 6383: 6374: 6373: 6371: 6370: 6360: 6350: 6339: 6336: 6335: 6333: 6332: 6327: 6322: 6317: 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4579: 4563: 4557: 4540: 4534: 4518: 4506:10.2307/854168 4493:Music Analysis 4484: 4478: 4463: 4457: 4444: 4438: 4425: 4419: 4406: 4400: 4387: 4381: 4367: 4365: 4362: 4359: 4358: 4332: 4301: 4278: 4258: 4246: 4226: 4217: 4194: 4178: 4166: 4135: 4133:, p. 357. 4123: 4105: 4103:, p. 230. 4093: 4078: 4076:, p. 366. 4066: 4064:, p. 174. 4054: 4042: 4027: 4015: 4011:Kienzle (2005) 4003: 3991: 3979: 3967: 3965:, p. 211. 3955: 3951:Beckett (1981) 3943: 3931: 3927:Hofmann (2003) 3919: 3907: 3892: 3866: 3864:, p. 166. 3854: 3840: 3838:, p. 207. 3828: 3816: 3804: 3792: 3780: 3759: 3747: 3731: 3715: 3703: 3696: 3671: 3647: 3635: 3631:Hofmann (2003) 3620: 3605: 3603:, p. 406. 3593: 3571: 3547: 3535: 3523: 3512: 3487: 3483:Beckett (1981) 3475: 3449: 3445:Kienzle (2005) 3437: 3425: 3413: 3398: 3386: 3363: 3359:Michael Oliver 3347: 3345:, p. 167. 3335: 3333:, p. 151. 3323: 3310: 3308:, p. 108. 3306:Beckett (1981) 3298: 3296:, p. 193. 3286: 3284:, p. 180. 3274: 3272:, p. 178. 3262: 3250: 3248:, p. 131. 3238: 3226: 3211: 3186: 3174: 3146: 3131: 3127:Carnegy (2006) 3119: 3117:, p. 212. 3107: 3087: 3072: 3068:Beckett (1981) 3060: 3056:Beckett (1981) 3048: 3044:Spencer (2000) 3036: 3006: 2977: 2975:, p. 270. 2973:Spencer (2000) 2965: 2961:Carnegy (2006) 2953: 2949:Beckett (1981) 2941: 2939:, p. 485. 2929: 2927:, p. 307. 2917: 2902: 2890: 2886:Beckett (1981) 2878: 2874:Beckett (1981) 2866: 2854: 2830: 2805: 2803:, p. 270. 2793: 2767: 2765:, p. 147. 2755: 2740: 2738:, p. 141. 2728: 2693: 2657:10.2307/917595 2630: 2609: 2596: 2575: 2574: 2572: 2569: 2566: 2565: 2531: 2530: 2528: 2525: 2524: 2523: 2517: 2516: 2500: 2497: 2470:Matti Salminen 2466:Violeta Urmana 2407: 2404: 2389:Rafael Kubelík 2303:Main article: 2300: 2297: 2247:, one onstage 2187:The score for 2184: 2181: 2176:Wehvolles Erbe 2155: 2152: 2126: 2123: 2072: 2069: 2056: 2053: 1888: 1885: 1843:slave morality 1831: 1828: 1766: 1763: 1683: 1680: 1620:Claude Debussy 1617: 1537: 1534: 1440:Amalie Materna 1409: 1406: 1309: 1306: 1217: 1214: 1212: 1209: 1206: 1205: 1199: 1198: 1193: 1190: 1187: 1180: 1179: 1166: 1156:Carrie Pringle 1150:Pauline Horson 1147: 1137: 1133: 1132: 1125:Paula Braendle 1121: 1106: 1099: 1095: 1094: 1089: 1084: 1079: 1075: 1074: 1072:Marcel Journet 1069: 1064: 1061: 1054: 1053: 1050: 1045: 1040: 1033: 1032: 1030:Anton van Rooy 1027: 1022: 1017: 1010: 1009: 1006: 1001: 996: 989: 988: 983: 981:Amalie Materna 978: 968: 961: 960: 955: 950: 945: 935: 934: 926: 918: 913: 879: 876: 840:Wieland Wagner 828: 825: 814: 811: 780:Gino Marinuzzi 740: 739: 654: 652: 645: 639: 636: 578: 575: 573: 570: 260: 257: 151:Richard Wagner 132: 131: 125: 115: 113: 109: 108: 96: 92: 91: 88: 84: 83: 81:Richard Wagner 78: 74: 73: 52:Amalie Materna 50: 42: 41: 39:Richard Wagner 31: 30: 15: 9: 6: 4: 3: 2: 6557: 6546: 6543: 6541: 6538: 6536: 6533: 6531: 6528: 6526: 6523: 6521: 6518: 6516: 6513: 6511: 6508: 6506: 6503: 6501: 6498: 6496: 6493: 6492: 6490: 6475: 6474: 6470: 6468: 6465: 6463: 6460: 6458: 6455: 6454: 6452: 6448: 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6001: 5997: 5996: 5994: 5990: 5980: 5977: 5975: 5972: 5971: 5969: 5965: 5952: 5951: 5947: 5942: 5941: 5937: 5932: 5931: 5927: 5922: 5921: 5917: 5912: 5911: 5907: 5906: 5904: 5900: 5889: 5885: 5882: 5878: 5875: 5874:Bridal Chorus 5871: 5870: 5868: 5864: 5861: 5857: 5851: 5850: 5846: 5843: 5839: 5837: 5836: 5832: 5830: 5829: 5825: 5822: 5818: 5815: 5811: 5808: 5804: 5801: 5797: 5794: 5790: 5789: 5787: 5783: 5778: 5775: 5770: 5769: 5765: 5760: 5759: 5755: 5750: 5749: 5745: 5740: 5739: 5735: 5730: 5728: 5724: 5719: 5716: 5714: 5710: 5699: 5695: 5694: 5690: 5687: 5683: 5682: 5678: 5675: 5671: 5670: 5666: 5665: 5655: 5651: 5650: 5646: 5643: 5639: 5638: 5634: 5631: 5627: 5626: 5622: 5619: 5615: 5614: 5613:Das Rheingold 5610: 5609: 5607: 5604: 5600: 5599: 5594: 5591: 5587: 5576: 5572: 5571: 5567: 5564: 5560: 5559: 5555: 5552: 5548: 5547: 5543: 5542: 5540: 5536: 5526: 5525: 5521: 5519: 5518: 5514: 5512: 5511: 5507: 5506: 5504: 5500: 5497: 5493: 5487: 5484: 5482: 5479: 5478: 5475: 5471: 5464: 5459: 5457: 5452: 5450: 5445: 5444: 5441: 5429: 5428: 5424: 5422: 5419: 5417: 5415: 5411: 5409: 5408:Parsifal bell 5406: 5405: 5403: 5399: 5393: 5392: 5388: 5386: 5385: 5381: 5380: 5378: 5374: 5367: 5366: 5362: 5359: 5358: 5354: 5351: 5350: 5346: 5345: 5343: 5339: 5333: 5330: 5328: 5325: 5324: 5322: 5318: 5314: 5313: 5308: 5301: 5296: 5294: 5289: 5287: 5282: 5281: 5278: 5271: 5269: 5265: 5263: 5261: 5256: 5253: 5251: 5246: 5243: 5239: 5236: 5235: 5230: 5228: 5226: 5222: 5220: 5219: 5214: 5211: 5210:Wagner Operas 5208: 5205: 5201: 5198: 5197: 5192: 5189: 5188: 5183: 5179: 5175: 5172: 5170: 5166: 5163: 5160: 5158: 5154: 5152: 5149: 5146: 5143: 5141: 5140: 5135: 5133: 5129: 5128: 5124: 5123: 5120: 5116: 5113: 5112: 5102: 5096: 5092: 5087: 5083: 5077: 5073: 5069: 5064: 5060: 5058:0-486-21762-0 5054: 5049: 5048: 5042: 5038: 5034: 5032:0-679-72462-1 5028: 5024: 5023: 5018: 5014: 5010: 5008:0-7222-6262-0 5004: 5000: 4996: 4992: 4988: 4986:0-19-823722-7 4982: 4978: 4974: 4970: 4966: 4960: 4956: 4952: 4948: 4944: 4942:0-571-11450-4 4938: 4934: 4929: 4928: 4917: 4913: 4909: 4905: 4900: 4896: 4894:0-8032-9792-0 4890: 4886: 4881: 4877: 4871: 4867: 4862: 4858: 4856:0-300-05777-6 4852: 4848: 4843: 4839: 4837:0-571-19653-5 4833: 4829: 4824: 4820: 4816: 4815: 4810: 4805: 4801: 4795: 4790: 4789: 4782: 4778: 4776:0-521-29149-6 4772: 4768: 4764: 4760: 4756: 4754:0-02-871359-1 4750: 4746: 4741: 4738: 4737:0-14-029519-4 4734: 4730: 4724: 4722:0-8050-7189-X 4718: 4713: 4712: 4706: 4702: 4698: 4693: 4689: 4683: 4679: 4674: 4670: 4664: 4660: 4656: 4652: 4648: 4643: 4639: 4637:3-506-73929-8 4633: 4629: 4624: 4620: 4618:0-575-02865-3 4614: 4610: 4605: 4601: 4599:0-15-677615-4 4595: 4591: 4586: 4582: 4580:0-00-216669-0 4576: 4572: 4568: 4564: 4560: 4554: 4550: 4546: 4541: 4537: 4531: 4527: 4523: 4519: 4515: 4511: 4507: 4503: 4499: 4495: 4494: 4489: 4488:Cohn, Richard 4485: 4481: 4479:0-300-10695-5 4475: 4471: 4470: 4464: 4460: 4458:0-691-11497-8 4454: 4450: 4445: 4441: 4435: 4431: 4426: 4422: 4420:9780520966130 4416: 4412: 4407: 4403: 4401:0-521-29662-5 4397: 4393: 4388: 4384: 4382:0-7618-2524-X 4378: 4374: 4369: 4368: 4346: 4342: 4336: 4321:. BBC Radio 3 4320: 4316: 4314: 4309:Nice, David. 4305: 4299: 4298:1-85626-056-9 4295: 4291: 4287: 4282: 4276: 4275:0-06-090910-2 4272: 4268: 4262: 4255: 4250: 4243: 4239: 4235: 4230: 4221: 4205: 4198: 4191: 4187: 4182: 4175: 4174:Thorau (2009) 4170: 4154: 4150: 4148: 4139: 4132: 4131:Berger (2017) 4127: 4120: 4119: 4114: 4109: 4102: 4097: 4090: 4085: 4083: 4075: 4070: 4063: 4058: 4052:, p. 26. 4051: 4046: 4039: 4034: 4032: 4024: 4019: 4012: 4007: 4000: 3995: 3988: 3983: 3976: 3971: 3964: 3959: 3952: 3947: 3940: 3935: 3928: 3923: 3916: 3915:Berger (2017) 3911: 3905:, p. 192 3904: 3903:Spotts (1994) 3899: 3897: 3881: 3879: 3870: 3863: 3862:Spotts (1994) 3858: 3851: 3850: 3844: 3837: 3832: 3825: 3824:Newman (1976) 3820: 3813: 3808: 3801: 3796: 3789: 3784: 3777: 3776:Weiner (1997) 3773: 3769: 3763: 3756: 3751: 3744: 3740: 3739:Ernest Newman 3735: 3728: 3724: 3719: 3712: 3707: 3699: 3693: 3689: 3685: 3681: 3675: 3668: 3667:1-84467-500-9 3664: 3660: 3656: 3651: 3644: 3639: 3632: 3627: 3625: 3617: 3612: 3610: 3602: 3601:Gutman (1990) 3597: 3582: 3575: 3569: 3568:0-691-11497-8 3565: 3561: 3557: 3551: 3544: 3543:Weiner (1997) 3539: 3532: 3531:Gutman (1990) 3527: 3521: 3516: 3500: 3499: 3491: 3484: 3479: 3472: 3471: 3466: 3462: 3458: 3453: 3446: 3441: 3434: 3429: 3422: 3421:Berger (2017) 3417: 3410: 3405: 3403: 3395: 3390: 3374: 3367: 3360: 3356: 3351: 3344: 3339: 3332: 3327: 3321:, p. 225 3320: 3319:Fauser (2008) 3314: 3307: 3302: 3295: 3290: 3283: 3278: 3271: 3266: 3259: 3254: 3247: 3242: 3235: 3230: 3223: 3221: 3215: 3204: 3203:26 July 1882" 3198: 3190: 3183: 3178: 3163: 3162: 3157: 3156:"Martha Mödl" 3150: 3142: 3135: 3128: 3123: 3116: 3115:Spotts (1994) 3111: 3104: 3100: 3098: 3091: 3085:, p. 506 3084: 3079: 3077: 3070:, p. 94. 3069: 3064: 3057: 3052: 3045: 3040: 3032: 3028: 3024: 3020: 3016: 3015:Pascal Lecocq 3010: 3003: 3002:Pascal Lecocq 2999: 2995: 2991: 2987: 2981: 2974: 2969: 2962: 2957: 2950: 2945: 2938: 2933: 2926: 2921: 2914: 2909: 2907: 2899: 2894: 2888:, p. 22. 2887: 2882: 2876:, p. 13. 2875: 2870: 2863: 2858: 2852: 2851:0-00-216189-3 2848: 2844: 2840: 2834: 2818: 2817: 2809: 2802: 2797: 2782: 2780: 2771: 2764: 2759: 2753: 2749: 2744: 2737: 2732: 2725: 2711: 2707: 2703: 2697: 2688: 2683: 2678: 2674: 2670: 2666: 2662: 2658: 2654: 2650: 2646: 2645: 2640: 2634: 2627: 2623: 2619: 2613: 2606: 2600: 2593: 2589: 2585: 2584:Joseph Görres 2580: 2576: 2562: 2558: 2554: 2550: 2546: 2542: 2536: 2532: 2522: 2519: 2518: 2514: 2508: 2503: 2496: 2494: 2490: 2486: 2485:Anna Netrebko 2480: 2475: 2471: 2467: 2463: 2459: 2455: 2451: 2447: 2443: 2439: 2435: 2431: 2428: 2424: 2421: 2417: 2413: 2403: 2401: 2397: 2392: 2390: 2386: 2382: 2378: 2374: 2370: 2366: 2362: 2357: 2354: 2350: 2345: 2341: 2337: 2333: 2331: 2326: 2322: 2318: 2314: 2309: 2307: 2296: 2294: 2290: 2289:tubular bells 2285: 2281: 2280:Parsifal bell 2277: 2272: 2270: 2269:Symphony in C 2266: 2265:contrabassoon 2262: 2258: 2254: 2250: 2246: 2242: 2238: 2234: 2230: 2226: 2222: 2218: 2217:contrabassoon 2214: 2210: 2209:bass clarinet 2206: 2202: 2198: 2194: 2190: 2180: 2165: 2161: 2151: 2148: 2144: 2140: 2136: 2132: 2122: 2120: 2116: 2112: 2108: 2104: 2099: 2096: 2092: 2088: 2084: 2080: 2079: 2065: 2061: 2052: 2050: 2046: 2042: 2038: 2034: 2030: 2026: 2022: 2018: 2017: 2011: 2007: 2003: 1998: 1996: 1995: 1990: 1989:George London 1986: 1982: 1978: 1974: 1970: 1961: 1957: 1954: 1950: 1946: 1945:Ernest Newman 1942: 1937: 1935: 1930: 1926: 1922: 1918: 1917: 1912: 1908: 1904: 1900: 1894: 1887:Racism debate 1884: 1882: 1875: 1873: 1868: 1863: 1861: 1860: 1855: 1854: 1849: 1844: 1840: 1836: 1827: 1825: 1821: 1817: 1816: 1811: 1807: 1803: 1799: 1798:Schadenfreude 1794: 1789: 1785: 1780: 1776: 1772: 1762: 1760: 1755: 1751: 1747: 1743: 1737: 1732: 1730: 1726: 1722: 1701: 1697: 1693: 1688: 1679: 1677: 1673: 1669: 1668: 1662: 1659: 1655: 1650: 1646: 1642: 1637: 1635: 1634: 1629: 1625: 1621: 1615: 1613: 1609: 1608:Jean Sibelius 1605: 1601: 1597: 1593: 1588: 1587:Gustav Mahler 1584: 1580: 1576: 1572: 1568: 1563: 1558: 1555: 1551: 1547: 1543: 1533: 1519: 1499: 1495: 1494:Theodor Pixis 1490: 1486: 1485: 1481: 1479: 1475: 1471: 1467: 1462: 1459: 1457: 1452: 1445: 1441: 1437: 1433: 1429: 1428: 1424: 1421: 1419: 1415: 1405: 1401: 1397: 1382: 1369: 1365: 1364: 1360: 1358: 1353: 1347: 1338: 1333: 1329: 1328: 1324: 1321: 1319: 1315: 1305: 1298: 1294: 1290: 1289: 1285: 1283: 1279: 1274: 1271: 1267: 1252: 1248: 1246: 1242: 1233: 1229: 1228: 1224: 1221: 1204: 1200: 1197: 1194: 1191: 1188: 1186: 1182: 1181: 1167: 1163:Hermine Galfy 1161: 1160:Johanna André 1157: 1151: 1148: 1144: 1138: 1135: 1134: 1131:Willy Harden 1129: 1122: 1120: 1116: 1112:Mathilde Keil 1110: 1109:Hermine Galfy 1107: 1100: 1098:Four squires 1097: 1096: 1090: 1088:Eugen Stumpf 1085: 1080: 1077: 1076: 1073: 1070: 1068: 1065: 1062: 1060: 1056: 1055: 1051: 1049: 1046: 1044: 1043:bass-baritone 1041: 1039: 1035: 1034: 1031: 1028: 1026: 1023: 1021: 1018: 1016: 1012: 1011: 1008:Robert Blass 1007: 1005: 1002: 1000: 997: 995: 991: 990: 987: 986:Milka Ternina 984: 982: 979: 977: 976:mezzo-soprano 972: 969: 967: 963: 962: 959: 956: 954: 951: 949: 946: 944: 940: 937: 936: 933: 927: 925: 919: 917: 914: 911: 910: 899: 895: 888: 884: 875: 872: 867: 863: 858: 854: 853:Ernest Newman 850: 849:Adolphe Appia 845: 841: 837: 833: 824: 821: 820:curtain calls 810: 808: 804: 800: 796: 792: 788: 783: 781: 776: 770: 767: 763: 759: 751: 746: 736: 733: 725: 714: 711: 707: 704: 700: 697: 693: 690: 686: 683: – 682: 678: 677:Find sources: 671: 667: 661: 660: 655:This section 653: 649: 644: 643: 635: 633: 628: 623: 618: 616: 615:Franz Fischer 612: 608: 604: 600: 596: 592: 588: 584: 566: 561: 557: 553: 547: 542: 541:Gesamtentwurf 537: 531: 530:Gesamtentwurf 526: 521: 515: 512: 506: 505:Gesamtentwurf 499: 497: 493: 492: 487: 482: 477: 473: 469: 464: 463:Gesamtentwurf 458: 456: 452: 448: 444: 440: 438: 432: 428: 427: 422: 421: 416: 411: 408: 403: 397: 388: 386: 385:Cosima Wagner 380: 378: 373: 368: 363: 357: 355: 351: 347: 342: 337: 333: 328: 322: 319: 314: 309: 304: 300: 296: 292: 291: 286: 282: 278: 274: 265: 256: 254: 249: 244: 239: 237: 233: 229: 225: 221: 217: 212: 210: 206: 202: 198: 195: 194: 189: 188: 184: 181: 177: 174: 173: 168: 167: 163: 160: 156: 152: 148: 144: 140: 139: 128: 114: 110: 107: 102: 101: 97: 93: 89: 85: 82: 79: 75: 71: 66: 61: 57: 53: 48: 43: 40: 36: 32: 27: 22: 6525:Music dramas 6472: 6471: 6438: 6431: 6424: 6320:Museo Wagner 6297: 6293:Rhinemaidens 6285: 6273: 6246: 6239: 6181: 6173: 6154: 6145: 6138: 6131:Wagner Dream 6129: 6084:Minna Wagner 6069:Ludwig Geyer 5998: 5974:Holztrompete 5948: 5938: 5928: 5920:Die Hochzeit 5918: 5908: 5847: 5833: 5826: 5777:Kaisermarsch 5766: 5756: 5746: 5736: 5726: 5692: 5691: 5679: 5667: 5647: 5635: 5623: 5611: 5596: 5589:Music dramas 5568: 5556: 5544: 5522: 5515: 5508: 5425: 5421:Dresden amen 5413: 5389: 5382: 5363: 5355: 5347: 5311: 5310: 5267: 5259: 5258:List of all 5249: 5233: 5224: 5217: 5195: 5185: 5181: 5178:theosophical 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