Soprano

Viktorija Stanelyte

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Artist

Approved

2011

2010

2009

2008

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With the support of the Klaus J. Jacobs Circle of Friends Conductor - Daniele Gatti Production - Claus Guth Stage design - Christian Schmidt Costumes - Christian Schmidt Choir mastering - Jürg Hämmerli, Ernst Raffelsberger Lighting design - Jürgen Hoffmann Video design - Andi A. Müller Choreography - Volker Michl Orchestra - Orchestra of the Zurich Opera Choir - Choir of the Zurich Opera With Yvonne Naef (Kundry), Eva Liebau (1st flower girl / 1st), Teresa Sedlmair (2nd flower girl / 1st), Katharina Peetz (3rd flower girl / 1st), Sen Guo (1st flower girl / 2nd), Viktorija Stanelyté (2nd flower girl / 2nd), Irène Friedli (3rd flower girl / 2nd), Wiebke Lehmkuhl (voice from above); Thomas Hampson (Amfortas), Pavel Daniluk (Titurel), Matti Salminen (Gurnemanz), Stuart Skelton (Parsifal), Egils Silins (Klingsor), Michael Laurenz (1st Knight of the Grail), Andreas Hörl (2nd Knight of the Grail); Sen Guo (1st squire), Katharina Peetz (2nd squire); Andreas Winkler (3rd squire), Boguslaw Bidzinski (4th squire) “The Parcifal kept me busy; In particular, a peculiar creation, a wonderfully demonic woman (the messenger of the Grail), appears ever more alive and captivating. If I could create this poem again, I would have to deliver something very original », wrote Richard Wagner on March 2, 1859 to Mathilde Wesendonck. More than twenty years would pass before the work was completed, with the prelude to which the audience was to be "removed from the world of phenomena and prepared for the reception of the eternal idea of ​​the world". For his “Parsifal” underlying idea that humanity can only be redeemed through compassion, Wagner combined elements from the Christian and Buddhist religions and combined motifs from various sagas, legends and myths. He is convinced that it was reserved for art to bring to consciousness the innermost essence of religion, free of any dogmatic conceptual fiction: «One could say that where religion becomes artificial, it is reserved for art, the core of religion to save the mythical symbols, which she wants to be believed to be true in the true sense, according to their symbolic values, in order to allow the deep truth hidden in them to be recognized through ideal representation. " Daniele Gatti takes over the musical direction of Wagner's “Bühnenweihfestspiel”, which - like Verdi's “Falstaff” - was to be the composer's last musical-theatrical work.

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