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OpernhausLeipzig, Sachsen, D 04109, Alemania
El viernes 10 abril 2020 at 16:00
Oper Leipzig
Ulf SchirmerDirector
Roland AeschlimannDirector de escena, Diseño de escena
Susanne RaschigDiseño de vestuario
Petra LangMezzosopranoKundry
Thomas MohrTenorParsifal
Mathias HausmannBarítonoAmfortas
Kay StiefermannBarítonoKlingsor
Sebastian PilgrimBajoGurnemanz
Bianca TognocchiSopranoFirst Flowermaiden / First Group
Magdalena HinterdoblerSopranoSecond Flowermaiden / First Group
Sandra MaxheimerMezzosopranoThird Flowermaiden / First Group, Second squire
Julia Sophie WagnerSopranoFirst Flowermaiden / Second Group, First squire
Christiane DöckerMezzosopranoSecond Flowermaiden / Second Group
Sandra JankeContraltoThird Flowermaiden / Second Group, A voice from on high
Matthias StierTenorThird squire
Dan KarlströmTenorFourth squire
Sven HjörleifssonTenorFirst knight of the Grail
Randall JakobshBajoSecond knight of the Grail, Titurel
Lucinda ChildsCoreografía
Lukas KaltenbäckDiseño de iluminación
Thomas Eitler-de LintDirector del coro
Leipzig Opera Children's Choir
Opernchor Leipzig
Gewandhausorchester Leipzig

The power of the Knights of the Holy Grail was gravely damaged when King Amfortas was wounded by the Holy Spear. "The wound can only be closed by the spear that made it," Amfortas learns. But Klingsor has stolen the Spear. His magical castle is surrounded by Flower Maidens, at whose hands the heroes perish on their way to Klingsor. Only the “pure fool” can bring back the Holy Spear to the Knights of the Grail. He finds himself in Kundry’s arms, and remembers his mission at the very last possible moment: sensing Amfortas’ wound in his heart, he becomes "enlightened by compassion."

The concept of salvation is once again a central theme in this, Richard Wagner’s last work for the stage. With the dualisms presented in this Bühnenweihfestspiel, or festival play for the consecration of the stage – suffering and salvation, morality and eroticism, religion and atheism – Wagner touches on themes central to the 19thcentury, while at the same time raising the bar for religious standards in art. Roland Aeschlimann interprets Wagner’s musical enigma as an experience in sound and space.

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