"At the first performances of ""Parsifal"" problems with the moving scenery (the ""Wandeldekoration"" ). during the transition from scene 1 to scene 2 in act 1 meant that Wagner's existing orchestral interlude finished before Parsifal and Gurnemanz arrived at the Hall of the Grail. Engelbert Humperdinck, who was assisting the production, provided a few extra bars of music to cover this gap. In subsequent years this problem was solved and Humperdinck's additions were not used. For the first twenty years of its existence, the only staged performances of ""Parsifal"" took place in the Bayreuth Festspielhaus, the venue for which Wagner"
"Gail Varina Gilmore Gail Varina Gilmore (born September 21, 1950 in Washington, D.C.) is an African-American Gospel, jazz and (mezzo-soprano) opera singer. She is particularly known for her interpretation of Kundry in Richard Wagner's opera ""Parsifal"". Gail Gilmore, born in Washington, D.C., grew up in New Orleans. She completed her undergraduate degree at the Xavier University of New Orleans with a Bachelor of Music in 1972. Two years later, at the music department of the Indiana University at Bloomington, she received a Masters in Music. The same year, the then-24-year-old singer launched her stage career in Europe, specifically in Germany."
"music demonstrations. There was also the subject of ""Freedom and Chains"", with the theme of ""The History of Slavery"", accompanied by examples of subject relevant music. Since 2013 until 2018, Gilmore is teaching Voice at Kreativ Musik Forum in Munich. Gail Varina Gilmore Gail Varina Gilmore (born September 21, 1950 in Washington, D.C.) is an African-American Gospel, jazz and (mezzo-soprano) opera singer. She is particularly known for her interpretation of Kundry in Richard Wagner's opera ""Parsifal"". Gail Gilmore, born in Washington, D.C., grew up in New Orleans. She completed her undergraduate degree at the Xavier University of New Orleans with"
"He retired from the stage in 1907, and died at Mauer, Vienna, in 1912, aged 62. Recordings exist of his voice in his later career, and he appears in ""The Record of Singing"". His son was also an opera singer. Hermann Winkelmann Hermann Winkelmann (or Winckelmann) (8 March 184918 January 1912) was a German Heldentenor, notable for creating the title role in Richard Wagner's ""Parsifal"" in 1882. Hermann Winkelmann was born in Braunschweig in 1849. His father, , was the founder of , piano manufacturers, and he himself planned to continue his father's trade. He went to Paris to study"
"was fifteen. I cried for two weeks and then became a musician."" Alban Berg described ""Parsifal"" in 1909 as ""magnificent, overwhelming,"" and Jean Sibelius, visiting the Festival in 1894 said: ""Nothing in the world has made so overwhelming an impression on me. All my innermost heart-strings throbbed... I cannot begin to tell you how ""Parsifal"" has transported me. Everything I do seems so cold and feeble by its side. ""That"" is really something."" Claude Debussy thought the characters and plot ludicrous, but nevertheless in 1903 wrote that musically it was: ""Incomparable and bewildering, splendid and strong. ""Parsifal"" is one of"
"Hermann Winkelmann Hermann Winkelmann (or Winckelmann) (8 March 184918 January 1912) was a German Heldentenor, notable for creating the title role in Richard Wagner's ""Parsifal"" in 1882. Hermann Winkelmann was born in Braunschweig in 1849. His father, , was the founder of , piano manufacturers, and he himself planned to continue his father's trade. He went to Paris to study piano construction, but while there he decided to become a singer. He had his initial training in Paris, and later with Koch in Hanover. Winkelmann made his debut as Manrico in Verdi's ""Il trovatore"" in the Court Theatre of Sondershausen"
"following the creator's death; thus ""Parsifal"" would lose its protection in 1913 regardless of any agreement with the Bavarian court. In anticipation, in 1901 Cosima sought to have the period of copyright protection extended by law to 50 years. She lobbied members of the Reichstag tirelessly, and was assured by Kaiser Wilhelm II of his support. These efforts failed to bring about any change in the law. In 1903, taking advantage of the lack of a copyright agreement between the United States and Germany, Heinrich Conried of the New York Metropolitan Opera announced that he would stage ""Parsifal"" later that"
"the first production of ""Parsifal"" outside of Bayreuth, against the wishes of Cosima Wagner, who went to court but failed in her attempt to forbid the production. By December 31, 1913, when the copyright of ""Parsifal"" expired, the work had been represented 43 times at the Metropolitan Opera. Enrico Caruso, who until then had refused all offers to come to America, was persuaded by Conried to come to New York and sing at the Met. Soon after he had become director of the Metropolitan Opera, he conceived the New Theatre. On May 1, 1908 he retired from the Metropolitan Opera"
"debut as an opera composer in Venice with ""Il tesoro insidiato."" Following his successful 1764 production of ""Li creduti spiriti,"" he was engaged as the second church composer at the Dresden court, on the composer Johann Adolf Hasse's recommendation. The chord sequence which became known as the ""Dresden amen"" was composed by Naumann for use in the Court Church in Dresden. Such was its popularity that it spread to other churches in Saxony, both Catholic and Lutheran. It was also utilised by later composers, including Felix Mendelssohn (in his ""Reformation Symphony"") and Richard Wagner (in his opera ""Parsifal""). In 1777,"
"was expanded into two full romances, ""Lohengrin"" and ""Lorengel"", and later German writers often referred back to ""Parzival"" in their works. Ludwig II of Bavaria was inspired by the poem, and Singers' Hall in his castle is decorated with tapestries and paintings depicting the story. He was also patron to the composer Richard Wagner and encouraged him to create the opera ""Parsifal"" based on the romance. He then commissioned eight private performances of the work. The standard edition of the text is Karl Lachmann's, 1926. This is the basis for all modern editions, including: English translations: Modern German translations: Spanish"
"the Emperor Pedro II of Brazil, Anton Bruckner, Camille Saint-Saëns and Pyotr Ilyich Tchaikovsky. Wagner was far from satisfied with the Festival; Cosima recorded that months later, his attitude towards the productions was ""Never again, never again!"" Moreover, the festival finished with a deficit of about 150,000 marks. The expenses of Bayreuth and of Wahnfried meant that Wagner still sought additional sources of income by conducting or taking on commissions such as the ""Centennial March"" for America, for which he received $5000. Following the first Bayreuth Festival, Wagner began work on ""Parsifal"", his final opera. The composition took four years,"
"Alexander Knaifel Alexander Aronovich Knaifel (; also ""Knayfel"", ""Knayfel"", or ""Kneifel""; born 28 November 1943 in Tashkent, Uzbekistan) is a Russian composer known for his operas ""The Ghost of Canterville"" and ""Alice in Wonderland"" as well as for his music for cinema. Knaifel studied cello with Mstislav Rostropovich at Moscow Conservatory from 1961 to 1963, then composition with Boris Arapov in Leningrad from 1964 until 1967. From the very beginning of his composing career he associated himself with the group of so to say ""avant-garde"" Soviet composers that include Andrey Volkonsky, Edison Denisov, Alfred Schnittke, Sofia Gubaidulina, Valentin Silvestrov, Leonid"
"""Titurel"", which was later continued by another writer, while two full romances were written adapting Wolfram's story of Loherangrin. Richard Wagner based his famous opera ""Parsifal"", finished in 1882, on ""Parzival"". ""Parzival"" is divided into sixteen books, each composed of several thirty-line stanzas of rhyming couplets. The stanza lengths fit perfectly onto a manuscript page. For the subject matter Wolfram von Eschenbach largely adapted the Grail romance, ""Perceval, the Story of the Grail"", left incomplete by Chrétien de Troyes. Wolfram claimed that a certain Kyot the Provençal supplied additional material drawn from Arabic and Angevin sources but most scholars now"
"Parisian production was directed by Lapissida, with costumes designed by Charles Bianchini, and sets by Marcel Jambon (Act I), Amable and Eugène Gardy (Act II), Eugène Carpezat (Act III), and Auguste-Alfred Rubé and Philippe Chaperon (Act IV). At its first appearance in Vienna, the title role was sung by Hermann Winkelmann, who had created the title role in Wagner's ""Parsifal"" at Bayreuth in 1882. Today, the opera is frequently performed throughout the world, a staple of the standard repertoire. Since three leading roles of the opera (Desdemona, Iago and Otello) are among Verdi's most demanding, both vocally and dramatically, some"
"Carrie Pringle Carrie Pringle (Caroline Mary Isabelle Pringle) (19 March 1859 – 12 November 1930) was an Austrian-born British soprano singer. She performed the role of one of the Flowermaidens in the 1882 premiere of Richard Wagner's ""Parsifal"" at the Bayreuth Festival. Unproven rumours associate Wagner's supposed infatuation with Pringle with the circumstances of his death in Venice in 1883. Carrie Pringle was born in Linz, the daughter of Basil Pringle, a landowner and amateur violinist, and Isabella, née Latinovics de Borsód, whose family originated from Hódság (then in Hungary, now Odžaci in Serbia), and who was a talented pianist."
"Winkelmann, who later achieved immortality as the creator of the title role in Wagner's ""Parsifal"". Its premiere in Russia, on at the Mariinsky Theatre, was in Italian. The first performance of the opera in its original French libretto was at Rouen on 14 February 1894. Rome, about 60 AD. The house of the courtesan Epicharis, where a party is taking place. Enter Chrysa, who begs Vindex to give her protection from a pursuing band of low-life, who invade the premises. Their leader turns out to be Nero in disguise. Saccus suggests that, by way of entertainment, a mock-marriage be arranged"
"of the first three operas in the tetralogy, but was impressed by the ""Götterdämmerung"" and edited up a version of it; but Decca did not release it. His 1951 and 1962 recordings of ""Parsifal"" are highly regarded; Bavarian Radio holds a tape of the 1955 Parsifal, but it has not yet been issued. Recordings of live performances of ""Parsifal"" from Bayreuth are available from nearly all the intervening years and extending through 1964. Hans Knappertsbusch Hans Knappertsbusch (12 March 1888 – 25 October 1965) was a German conductor, best known for his performances of the music of Richard Wagner, Anton"
"""Parsifal"", using the Parsifal and Gurnemanz singers from that year's Bayreuth performances. The music critic Alan Blyth described this as ""the most uplifting, superbly executed reading of Act 3 ... in the history of recording"" and Robin Holloway commented that ""It realizes better than any other Wagner performance the idea of endless melody"". In all about 40% of the opera's score was recorded over the 2-and-a-half-year period. HMV also recorded eight further Wagner orchestral pieces, including the ""Siegfried Idyll"", with the Berlin State Opera Orchestra in December 1927, May 1928, and November 1929. These have been reissued on various CDs."
"talented conductor Hermann Levi, who was personally chosen by Richard Wagner to conduct the debut of ""Parsifal"" in 1882 with the assistance of the young Engelbert Humperdinck. Following Wagner's death, his widow Cosima continued running the festival at one or, more frequently, two-year intervals. She gradually introduced the remaining operas which complete the Bayreuth canon of Wagner's last ten completed operas. Levi, the son of a rabbi, remained the festival's principal conductor for the next two decades. Felix Mottl, who was involved with the festival from 1876 to 1901, conducted ""Tristan und Isolde"" there in 1886. Until the 1920s, performances"
"2013 broadcast of BBC Radio 3's CD Review – Building a Library, music critic David Nice surveyed recordings of ""Parsifal"" and recommended the recording by the Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelik (conductor), as the best available choice. In addition to a number of staged performances available on DVD, ""Parsifal"" was adapted for the screen by film director Hans-Jürgen Syberberg. There is also a 1998 documentary directed by Tony Palmer titled: ""Parsifal – The Search for the Grail"". It was recorded in various European theaters, including the Mariinsky Theatre, the Ravello Festival in Siena, and the Bayreuth Festival. It contains"
"Francesc Viñas Francesc Viñas i Dordal (27 March 1863 – 14 July 1933) was a Spanish operatic tenor. He is also known by the Spanish version of his name, Francisco Viñas and the Italian version, Francesco Vignas. He was particularly known for his performances in the operas of Richard Wagner and sang in the first production of ""Parsifal"" outside Bayreuth. Viñas was born in Moià, a small town near Barcelona. At the age of 23, he enrolled in singing lessons at the Barcelona Conservatory where he studied under Gonçal Tintorer. After hearing him in some of the conservatory's concerts, Juan"
"Helen Parker-Jayne Isibor Helen Isibor-Epega (Helen Parker-Jayne Isibor), also The Venus Bushfires, (born 1981) is a Nigerian opera singer, songwriter, composer and performance artist, who has written the world's first opera in Pidgin English. Inspired by Wagner's ""Parsifal"", her ""Song Queen: A Pidgin Opera"" was presented in London in July 2015. Born in Ibadan in southwestern Nigeria into a family with five children, Isibor is the daughter of a medical consultant and a storybook writer, both of whom were interested in music. She lived in Benin City until she moved to London in the 1980s when she was seven. After"
"The conductor was Hermann Levi, who was the musical director of the Munich Court opera from 1872–1896, and who was to premiere Richard Wagner's Parsifal in 1882. Strauss' father Franz was much involved in the premiere, copying out all of the orchestral parts by hand and playing in the orchestra. Franz was so grateful to Levi for conducting the premiere, he asked how he could thank him. Levi ""promptly seized the chance to ask the great horn-player to take part in the first performances of Parsifal at the Bayreuth festival in 1882"". Despite his hostility to the works of Richard"
"in 1998, he has been invited to show his artwork in the United States where he moved in 2003, becoming then a US resident. Pascal Lecocq’s dissertation for the Doctorate was a philosophical study of the interrelation between all the arts, focusing in the set design in opera, making a historical study specific to the ""Wandeldekoration"", spectacular moving scenery of ""Parsifal"", by Richard Wagner, from 1882 to 1982. Then, Pascal Lecocq worked as a director assistant, and set and costume designer in different opera houses in France (from 1985 to 1996: ""Lohengrin, Der Ring, Parsifal, Tosca, Traviata"" …and in 2016"
"newly composed prelude to ""Parsifal"". The concert also included the ""Siegfried Idyll""; Cosima wrote afterwards: ""There stands he who has called forth these wonders, and he loves me. He loves me!"". Progress on ""Parsifal"" was hampered by Wagner's recurrent ill-health, but by late 1880 he announced the next festival for 1882, to be devoted entirely to the new work. Wagner secured Ludwig's agreement that ""Parsifal"" should be staged exclusively at Bayreuth, but in return, Ludwig required that his current Munich Kapellmeister, Hermann Levi, should conduct the festival. Wagner objected on the grounds of Levi's Jewish faith; ""Parsifal"", he maintained, was"
"the recordings at 80 rpm produces a more reliable result. Mullings was born in Walsall. He studied singing in Birmingham and made his operatic début in Coventry in 1907—in ""Faust"" by Gounod. He joined the Denhof Opera Company in 1913, was engaged by the Beecham Opera Company from 1916 to 1921, and was with the British National Opera Company from 1922 until its closure in 1929. He was the first to sing the part of Wagner's Parsifal in English, which he did at the Royal Opera House, Covent Garden, in 1919. Mullings was a noted interpreter, in England at least,"
"and notable works. A few examples: In 1880, German composer Richard Wagner encountered difficulty in getting ""Parsifal"" performed in Bayreuth. Annoyed because of his large expenditures on the Festival Theater, the venue at which he had intended to hold the performance, and bureaucratic opposition, he said in a letter to American dentist Newell S. Jenkins: ""It seems to me as if, in my hopes of regarding Germany and her future, my patience would very soon be exhausted."" In a display of his notorious ego, Wagner proposed that if an American organization would give him $1,000,000, he would agree to come"
"of ""Parsifal"", and moved with her parents and siblings to London. In England her career was fitful and she apparently never appeared on the opera stage again. Other members of the family also sought musical professions, including her brother Godfrey Pringle (1867 - 1900) who wrote two operas. Pringle and her mother both gave music lessons, and she herself sought by advertisement engagements for theatres and seaside piers during the holiday seasons. Pringle never married; she died in Brighton in 1930 of ovarian cancer. Although Pringle's audition with Wagner in 1881 was indifferent, she performed well in the first production"
"first performance of ""Parsifal"" at Bayreuth in 1882, even though Wagner initially objected to this and was quoted as saying that Levi should be baptized before conducting ""Parsifal"". Levi was connected with the musical life at Bayreuth during the remainder of his career. He visited London in 1895, and died in Munich in 1900. He was interred in a Mausoleum in the grounds of his villa later that year in Garmisch-Partenkirchen. During his early years, Levi also worked as a composer. His first opus number was a piano concerto published in Paris, besides which he also wrote a violin sonata."
"premiere of ""Parsifal"" in 1914. In 1926 she appeared as Brünnhilde in Rome; in 1928 she sang Kundry in Naples, and thereafter retired. She recorded numerous excerpts from various operas during her career. Another sister, Enrica Pasini, had a brief career as a mezzo-soprano. Her son was Riccardo Vitale, who eventually became director of the Rome Opera House from the 1940s to the 1970s. Lina Pasini-Vitale Carolina Pasini-Vitale, known as Lina, (born Rome, November 8, 1872 – died there November 23, 1959) was an Italian soprano. Sister of Camilla Pasini, she studied in Rome before debuting at the Teatro Dal"
"act of his final opera ""Parsifal"", Wagner offsets the bold brass with gentler strings, showing that the same musical material feels very different when passed between contrasting families of instruments:] On the other hand, the prelude to the opera ""Tristan and Isolde"" exemplifies the variety that Wagner could extract through combining instruments from different orchestral families with his precise markings of dynamics and articulation. In the opening phrase, the cellos are supported by wind instruments: ] When this idea returns towards the end of the prelude, the instrumental colors are varied subtly, with sounds that were new to the 19th"
"Amongst the studio recordings, those by Georg Solti, Herbert von Karajan and Daniel Barenboim (the latter two both conducting the Berlin Philharmonic) have been widely praised. The von Karajan recording was voted ""Record of the Year"" in the 1981 Gramophone Awards. Also highly regarded is a recording of ""Parsifal"" under the baton of Rafael Kubelík. Originally recorded for Deutsche Grammophon but never released, it is now available on the Arts Archives label. On the Saturday 14 December 2013 broadcast of BBC 3'S CD Review – Building a Library, music critic David Nice surveyed recordings of ""Parsifal"" and recommended the 1980"
"United States. He conducted famed solo harpist Vincent Fanelli from 1908 to 1911. At the request of General Pershing he reorganized the bands of the A.E.F. in 1918. One of his principal achievements was the successful performance of ""Parsifal"", perhaps the most difficult of Wagner's operas, for the first time in the United States, in March 1886, by the Oratorio and Symphony societies. During his visit to Europe in the summer of 1886, he was invited by the Deutsche Tonkünstler-Verein, of which Franz Liszt was president, to conduct some of his father's compositions at Sondershausen, Thuringia. Carl Goldmark's opera ""Merlin"""