By timdewart
Written May 02, 2016
Left after the first act. The slowest moving and non universal storyline bored me. Couldn't wait to leave the theater. Very poor sound quality over the Burlington AMC sound system. However, I'm a great fan of the MET's "Ring" and other productions.
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Total immersion in another mind

By jane10024
Written July 25, 2016
It's long. It's slow. It's also gorgeous. It creates a mystical mood and if you slow down and go with it you will have an exceptional experience. If you don't, leave after Act 1.
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Long and a little slow

By barbhelm
Written July 25, 2016
Acts 1 and 3 are so slow; Act 2 is wonderful.
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Ah ha! I "Get" It.

By msirt
Written May 25, 2016
Ah ha! I finally "get" François Girard's final interpretive thrust for this rendition : Parsifal's words (paraphrase): "The Holy Blood on the spear longs to join the Holy Blood in the Grail cup. The action: Parsifal inserts the spear tip into the Grail cup, upheld by Kundry, who, on a musical accent (also reflected in a spear movement by Parsifal), will suddenly begin her expiration ritual, leading to a gentle death, while meanwhile, the shadowy ensemble of women who have been ever-pesent but separate from the men, move as individuals to members of the opposite sex, and they all join hands as couples. My sudden grasp of Girard's interpretation: My goodness! We've got some good ol' Dan Brown going here (Da Vinci Code). The phallic spear and the vaginal cup. All that alternative Gospel of Thomas stuff (Christ married and parental, etc.) and a union of opposites into a perfectly balanced whole (Yin & Yang), represented through the sexual symbolism of the objects at hand.
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The metropolitan's new Parsifal 2013

By 2muellers
Written September 04, 2015
We have loved Parsifal for over 50 years, seeing 3 productions and hearing numerous from recordings and other live presentations over the radio. This time the Met brought together unforgettable artists to the stage. All voices were great, but the 3 - the tenor a and both basses - Jonas Kaufman,Evgeny Nikitin, and Rene Pape sung well beyond expectations. Likewise for drama and voices, Katarina Dalayman and Peter Mattei excelled better than ever. The conductor, Daniele Gatti, won special praise for a tender and yet where needed an explosive and passionate performance. De rigeur for doing all by/from the heart. He's made it into my Conductors' Hall of Fame. Now on the other hand we had a- let me call it - stark and dark production and sets. How do you reconcile flower girls without any flowers; ankles in 'blood' do not convey seduction to even the blind. Where is the charm of Good Friday Spell without any a cemetery. God save us from such modernists and minimalists. GO.
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