Pierre Audi’s dark and abstract production of Wagner's Parsifal for the Bayerische Staatsoper, first seen in 2018 and with artwork by Georg Baselitz, returned in time for Easter. The desolate landscape of ghostly forest in Acts 1 and 3 now seem more congenial to our wounded psyche after our collective experience of the pandemic and war of the past two years. The staging of Act 2 is still awkward. Klingsor and Kundry both roll onto stage from under a curtain for their initial confrontation. Flowermaidens wear ugly body suits with exaggerated body parts to try to entice Parsifal. The “Schloss” is a papier maché of white paper with black lines marking small squares. Audi’s direction is largely constrained by the static, bleak staging and unattractive costumes. One of the saving graces of the production remains the latter half of Act 3 as brighter lighting illuminates the glory of Good Friday. The starburst image on the screen is a beautiful backdrop to the glorious final moments of Wagner’s last work of redemption.
The production is free of the typical trappings of many traditional religious symbols, such as chalice and cross, but embraces the universality of human failings and suffering. Amfortas is severely wounded and bloody. Dressed in white with bandage dressings visible, he staggers around the stage, flailing around a stick and sporting a crown. His “Grail Ceremony” consists of his holding up a bloody piece of meat in his bare hands. The Grail Knights receive their blessing by removing their robes to reveal, as with the Flowermaidens, “naked” body suits. The scene could almost be comical were it not for the singular performance by Christian Gerhaher. He began Amfortas' monologue as a self-absorbed musing in quiet and contemplative tone, only to unleash his anger and frustration in a heart-wrenching outburst while maintaining clean legato lines. His diction was exemplary, as if he was singing Lieder, with every word infused with deep meaning.
Replacing the ailing Simon O'Neill at just a few days notice, Stuart Skelton was magnificent as Parsifal, wielding his powerful tenor with colour and nuance to show the progression of an innocent “fool” to enlightened redeemer. His best singing came in Act 2: when the seductress Kundry’s cajoling and pleading became almost unbearable, Skelton countered with a beautiful and thrilling outburst of high notes to assert his freedom. Parsifal’s final declaration of Amfortas’ redemption and his own assumption of the Grail Knights’ leadership was sung with tenderness and sympathy as Skelton modulated his voice with pianissimo.