Decors steal the show in The National Opera's Parsifal

Austrian bass Günther Groissböck received the biggest applause on Thursday 15 December in Parsifal, for his role as Gurnemanz. A close second was Russian soprano Elena Pankratova. She signed for the vocal part of Kundry, who took shape on stage in the person of assistant director Astrid van den Akker. However, judging by the deafening cheers, the audience was most impressed by conductor Marc Albrecht and his Netherlands Philharmonic Orchestra. - Even after the two intermissions, the audience had already welcomed them with ovational applause.

Pankratova and Van den Akker: one Kundry

The revival of this last opera by Richard Wagner cost The National Opera many a headache. After the successful premiere on Tuesday 6 December, Petra Lang fell ill, dropping out in the role of Kundry. In haste, Elena Pankratova was engaged for Friday, but her plane was delayed. When she would not make the first act, German mezzo-soprano Alexandra Petersamer took it. - She was in Amsterdam anyway for a performance of the third act from Wagner's Die Walküre with the Royal Concertgebouw Orchestra.

Although we are now almost a week on, Pankratova also sang her role last night from the side stage, while Astrid van den Akker interpreted it on stage. And how! Together they form a completely organic twosome. Pankratova manages to make the various moods of the doomed Kundry - messenger of the grail knights, seductress for evildoer Klingsor - palpable. Van den Akker blends seamlessly with the phenomenal hues of Pankratova's powerful, agile voice, miming a vulnerable and moving Kundry.

Groissböck: overwhelming presence

An equally phenomenal performance is given by the bass Günther Groissböck, who, as the noble grail knight Gurnemanz, keeps his back straight (also literally) in all situations. He defends Kundry against attacks by his colleagues and supports the weak, selfish king Amfortas. Moreover, he recognises in Parsifal the 'pure fool' who will bring salvation to the ailing kingdom. Groissböck pairs a sonorous, even voice in all registers with perfect diction and enormous stage presence.

Unlike Ryan McKinny who plays Amfortas, he has true regal allure. True, this bass has the suitably emaciated physique for his quasi-Christian role but neither voice technically nor as an actor is very convincing. Thus, stumbling as a man languishing in pain still proves to be quite a task. And when he hangs 'crucified' from the beams, it almost works on the funny bone.

Baritone Bastiaan Everdink is a virile and convincing Klingsor. British tenor Christopher Ventris develops as Parsifal from a timid, awkward youth into an enlightened, sovereign leader. Moving is the moment when he baptises Kundry with his clear tenor voice, freeing her from her guilt.

Endless

The story is not easily retold, but essentially involves the Grail Knights guarding the chalice of the Last Supper and the spear used to pierce Christ's side. Klingsor has stolen the spear from them and wants to take the chalice from them too. To do so, he enlists the help of Kundry, who prompts them to break their vow of chastity. However, the innocent Parsifal does not fall for her seductive tricks, recaptures the spear from Klingsor, heals Amfortas and is crowned king of the Grail Knights.

Wagner was never short on substance, but Parsifal is truly endless. For five hours, we are treated to reflections on chastity, guilt, penance and redemption. It is often so inimitable that your stamina and sitting muscles are sorely tested. Wagner, meanwhile, does treat us to beautiful, often very heartfelt music, but it lacks the searing intensity of Der Ring des Nibelungen or Tristan und Isolde.

The Netherlands Philharmonic Orchestra plays glowingly, with a beautiful warm sound and brilliant solos by (bass) clarinet, (alto) oboe, flute, horns, harp and trumpets. The National Opera Chorus is also in fine form. It particularly charms in passages that sound like pure church music. Ugly are the synthetic bells, which are also out of tune with the orchestra. Playing them splendidly still turns out to be a challenge for the musicians.

Mirror reflects action

The best thing about the production are Anish Kapoor's sets. During the orchestral introduction of the first act, a blood-red spear gleams on the backdrop. Then we see a rock world bathed in deep red light, which fits well with the medieval atmosphere in which the story is set. When Amfortas is 'crucified', blood drips not only from himself and his loincloth, but also from the wooden scaffolding on which the chorus is posted.

The huge round mirror in the second act gives extraordinary reflections of the action on stage. En passant, it generates wonderful acoustic effects when the singers get too close. We can also interpret it as an invitation to consider our own motives: how pure/innocent/free of sin are we ourselves?

For all their simplicity, the sets are a nice contrast to the rambling narrative. Too bad only that they are shrouded in twilight darkness for almost the full five hours.