Bayreuth.(International)(Opera Review)

When Christoph Schlingensief--a director of scandalous if politically provocative theater and film productions but an artist with no previous opera experience--was announced for Bayreuth's new production of Parsifal, skepticism abounded. Were the prophets of doom correct? In essence, yes, as Schlingensief managed to carry the Bayreuth principle of dramatic reinterpretation to lunatic extremity. The director based his concept on three factors, each theoretically viable in itself: a redemption in Parsifal can be achieved only through death; the opera consists of a series of near-death encounters; contemporary, ritualistic significance can best be found in Africa.

As the curtain rose on August 6, we were indeed in Africa. Native Africans abounded. Gurnemanz, large of girth, white, long-bearded and dressed in animal skins, bounced around the cluttered stage like a silent-film refugee. Schlingensief, a man of ideas, has force-fed everything but the kitchen sink into this Parsifal without creating any discernible interpersonal relationships. The stage revolves constantly, moving surrealistically from illogical location to location; films are distractingly projected throughout the entire evening, often rendering the soloists invisible; and a holy rabbit replaces the holy Grail. The near-death aspect allows total freedom for associative non sequitur. Inscrutable characters have been invented: a very fat naked lady (earth mother?), a very fat man (looking like Orson Welles) carrying a silver rabbit, children, etc. The Knights of the Grail in Act I were Priests of many nations (a nice touch), those in Act III deceased leaders of the past (the choice of Napoleon was particularly fascinating); the Flower-maidens ignored Parsifal, trying instead to seduce the fat man's silver rabbit; the seductress Kundry looked like a combination of ...