Please Read ! This is an very well preserved piece of operatic history and lovingly framed ~ I have no wish to sell this, but my wife insists that I must clear away some of my (obsessively large) collection of fine art ~ this historical artifact is offered very reluctantly and I hope you can provide it a loving new home ~ This flag (?) is in very nice condition, yet there are some nicking on the frame which can be seen in the photos ~ please see photos for condition details ~ tracking number included with all shipments ~ All items are from a smoke free environment. We ship orders every day, and same day when possible. Your complete satisfaction is our goal!
About Parsifal: music drama in three acts by German composer Richard Wagner, with a German libretto by the composer. The work was first performed at Bayreuth, Bavaria, Germany, on July 26, 1882, not long before Wagner’s death, on February 13, 1883. The Transformation Music from Act I and the Good Friday Music from Act III are sometimes performed separately on orchestral programs.
Background And Context
Wagner himself labeled Parsifal “ein Bühnenweihfestspiel”—that is, “a theatre-consecrating festival piece”—and he initially designated the Bayreuth festival theatre as the sole performance venue for the work, which was the first to be written specifically for that theatre. In its first summer there Parsifal was performed 16 times (July 26 through August 29, 1882). The composer sensed that Parsifalwould be his last stage work, and by controlling performances he was putting a financial legacy into place for his young son, Siegfried, as well as solidifying the future of his Bayreuth festival, which remained in the control of the Wagner family into the 21st century.
The composer took as a starting point Parzival, a German epic poem by Wolfram von Eschenbach, but Wagner, as usual, made the tale entirely his own. In the narrative of a questing youth, Wagner set up dichotomies of purity and desecration, self-control and licentiousness. Although he was not conventionally religious, he introduced elements of Christian tradition, including the Grail and the spear that was believed to have wounded Jesus on the cross.
Some critics have also found in Parsifal evidence of Wagner’s highly idiosyncratic views on religion, diet, heroism, and art—views he had elucidated in a series of essays published from 1878 (“Modern”) to 1881 (“Heroism and Christianity”) as the opera was taking shape. The essays are also permeated with his virulent anti-Semitism.
Perhaps largely because of its overtly Christian symbolism, Wagner considered Parsifal to be a sacred work for the stage, not an opera, and his music for the work is on the whole unusually solemn and slow. One of the first parts to be completed was the Good Friday Music, which occurs near the end of the title character’s adventures. It is music of rapt beauty, expressing repentance and transfiguration in part through leitmotifs and changes in key and ending with the pealing of bells. Wagner had by this time become so adept at orchestration that he could invoke visual effects such as shimmering light. He had mastered the union of music and meaning as he evoked ideas, story, and character.