Author: Peter McGrail

femme fatale is then traced until it reaches its apotheiosis with the extraordinary character of Kundry, in Wagner’s Parsifal . She is then used as the vehicle to explore the themes in depth. Keywords Bible, femme fatale , Kundry, opera, Parsifal, Wagner By definition, every operatic character is a

In: Biblical Interpretation

Parsifal was Richard Wagner's final work for the stage. He spent 37 years of his life developing and refining the piece which, in the end, he would not call an opera but a ‘Festival Play for the Consecration of the Stage’ ( ein Bühnenweihfestspiel ) (Beckett, 1995 ). As he neared its completion

In: International Journal of Jungian Studies
Author: Paul Schofield

I I n the summer of 1990, when I was in San Francisco for the revival of the Nikolaus Lehnhoff Ring , I had the chance to talk with a particular opera conductor, and I asked him what he thought of Parsifal . He replied, “ Parsifal is the one I don’t have a handle on.” Parsifal is, and

In: Religion and the Arts

Introduction Richard Wagner’s final opera Parsifal , which he termed a Bühnenweihfestspiel (“festival work for the initiation of a stage”), was first performed at Bayreuth in 1882. 1 It is a strange, serious, and beautiful work, which is alternately hailed as a profound Christian statement and

In: The Medieval Presence in the Modernist Aesthetic
Author: Lawrence Kramer

Wagner could not have made it clearer: Durch Mitleid wissend —through compassion, knowing. Parsifal , the opera that takes this phrase as its verbal and musical mantra, takes its Mitleid literally. Unlike the English pity , the word connotes proximity, not distance; unlike the Latinate

In: Song Acts
In: Jenseits von Bayreuth
Author: Matthias Gockel

”) deserves special attention, since it transforms various Christian symbols in an aesthetic context, apart from ecclesial or denominational traditions. Parsifal presents an aesthetic-ethical critique of traditional Christian beliefs and practices by highlighting the virtue of conscious Mitleid

In: Religion and the Arts
In The Medieval Presence in the Modernist Aesthetic: Unattended Moments, editors Simone Celine Marshall and Carole M. Cusack have brought together essays on literary Modernism that uncover medieval themes and tropes that have previously been “unattended”, that is, neglected or ignored. A historical span of a century is covered, from musical modernist Richard Wagner’s final opera Parsifal (1882) to Russell Hoban’s speculative fiction Riddley Walker (1980), and themes of Arthurian literature, scholastic philosophy, Irish legends, classical philology, dream theory, Orthodox theology and textual exegesis are brought into conversation with key Modernist writers, including T. S. Eliot, Ezra Pound, Samuel Beckett, Marcel Proust, W. B. Yeats, Evelyn Waugh and Eugene Ionesco. These scholarly investigations are original, illuminating, and often delightful.