Wagner’s Final Opera Parsifal – Glyndebourne

Last Updated on May 18, 2025

Landmark production reframes Wagner’s medieval epic, Parsifal

Three ‘firsts’ mark this production of Wagner’s final opera Parsifal at Glyndebourne. This is the first time the production has ever been staged at Glyndebourne, it marks the directorial debut at the prestigious opera house for Jetske Mijnssen and, if this was not momentous enough, it is also the first time she has directed a Wagner opera. Much like Parsifal himself, the weight of responsibility must have hung heavy on her shoulders. Rather than being  inspired by the medieval myths that influenced the original opera-cum-Bühnenweihfestspiel (sacred festival play), this particular Parsifal explores the time period in which Wagner’s own life came to an end. Clearly inspired by the likes of Chekov and Ibsen, even from the get go, this epic takes human character as its primary study.

From the first exquisite notes conducted by Robin Ticciati, Glyndebourne’s own Director of Music, there is no sense that this four-and-a-half-hour production is going to drag. Every motif is gently eased to life, rendering Wagner’s score in glorious, vibrant, colour. The overture, however, is interrupted by the lifting of the curtain. Opening on a late nineteenth century bedroom, the wounded King Amfortas is lying in bed. Sitting at his side is a maid, clearly the sorceress Kundry, and in the background, a third, unknown figure. The image stays with us for a moment before the curtain closes again. From this initial glimpse, you might find yourself wondering whether you have accidentally booked a ticket to a Victorian problem play.

Despite this unlikely setting, however, the first act starts off with some remarkable elements, particularly the spectacle driven choreography of the chorus devised by Dustin Klein, and the marvellous performance from John Relyea as Gurnemanz, here presented as a priest, and our esteemed narrator. Relyea’s bass is assuring and steady, but it is also cut with deep emotion. Despairing, he tells the story of how Amfortas was wounded by Klingsor, who was rejected by the knights of the grail. Kundry, corrupted by the outcast Klingsor, was successful in ensnaring Amfortas, who loses custody of the Holy Spear and is stabbed. This initial rupture, presented here as similar to the story of Cain and Abel (with Amfortas’s father Titurel literally mirroring god) firmly establishes this Parsifal as a strange family drama.

Although not completely successful in the deployment of psychological framing for what is usually – either in the name of myth or holiness – staged an epic work, it brings considerable heat to the drama of the second act. Ryan Speedo Green’s portrayal of Klingsor is beautifully complex, his bass-baritone is capable of both inflicting and exhibiting pain. Upon learning of the threat of Parsifal, the fool and heroic outsider destined to once again uncover the grail, Klingsor decides to send Kundry after him, despite her protestations.

Kundry’s ‘wildness’ is only apparent in this production through Kristina Stanek’s fierce mezzo-soprano, which balances well with Daniel Johansson’s sweet and yet sturdy tenor as Parsifal, even as he rejects her advances. The complex emotions of each of the characters, including a spurned Kundry, a vengeful Klingsor, and a Parsifal finally enlightened by destiny, fill the stage with an immense amount of dramatic power. Fresh and exhilarating, this is where the full production, and Mijnssen’s direction, is at its finest.

The final act is where some of this power is lost. At the time of Titurel’s funeral Parsifal returns after being banished, hope is not yet lost as Parsifal is now in possession of the Holy Spear from Klingsor, who he defeated and then forgave. Ghostly visions of both Kundry and Klingsor haunt the stage, a distracting addition, but ultimately it is the resolution of the drama that leaves the ending on a slightly awkward note. Redemption becomes the primary theme, but Mijnssen’s alternative ending risks bordering on didactic. Read in one way, the lasting impression risks being reduced to: ‘the real grail was the friends we made along the way.’ In truth, however, Mijnssen’s take is explorative, daring and ultimately posits an interesting reflection on the dialogue between Wagner’s final work and the ideas that underpin it. While you can’t imagine that Wagner would approve of this radical approach, the music is undeniably, and outstandingly brilliant.

17 May – 24 June 2025

Parsifal
Glyndebourne
Lewes
East Sussex
United Kingdom
BN8 5UU