Wagner's operas are so rich in meaning that it is hardly surprising that they remain today an inexhaustible field of questioning for performers.
We have just noticed this again by doing three contrasting experiences in one week, which raise the question of the relationship between theater and music in the opera.
At the Grand Théâtre de Genève, it is the German Michael Thalheimer, much better known to theatergoers than lyricophiles, who embarks on
Parsifal
.
Spectacle of a demanding but eloquent nudity.
Henrik Ahr's sets open or close the space, an impressive machinery soon transforming two high smooth walls into a temple suggesting a tragic confinement.
The tight partitions of the second act will accentuate it with subtle games of chiaroscuro lighting, making misshapen flower girls even more disturbing.
Read alsoBetween the artist Bill Viola and Richard Wagner, a love in perpetuity
The staging does not leave much hope.
Removing any accessory suggesting the…
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