This production is the first fully staged production of Wagner’s Parsifal in Australian since 2001, directed by Roger Hodgman and conducted by Victorian Opera Artistic Director Richard Mills. It was produced by Victorian Opera at the 2,800 seat Palais Theatre St Kilda in 2019, running for 3 performances. This production sought a contemporary and recognisable approach to the characters in this epic romantic era opera traditional set in medieval times, with the traditional attire of knights reimagined in an austere and modest modern-day uniform whilst their nemesis was grotesque in excessive adornment and a garish cosmetic veneer. The use of an extended chorus enabled the figures on stage to become a significant scenographic statement when gathered en masse.
History
Add to Elements
Yes
NTRO Output Type
Original Creative Work
NTRO Output Category
Original Creative Work : Design / architectural Work
Place
Melbourne, Australia
Venue
Palais Theatre
NTRO Publisher
Victorian Opera
Medium
Design for Live Performance
Research Statement
This production is the first fully staged production of Wagner’s Parsifal in Australian since 2001, directed by Roger Hodgman and conducted by Victorian Opera Artistic Director Richard Mills. It was produced by Victorian Opera at the 2,800 seat Palais Theatre St Kilda in 2019, running for 3 performances.
This production sought a contemporary and recognisable approach to the characters in this epic romantic era opera traditional set in medieval times, with the traditional attire of knights reimagined in an austere and modest modern-day uniform whilst their nemesis was grotesque in excessive adornment and a garish cosmetic veneer. The use of an extended chorus enabled the figures on stage to become a significant scenographic statement when gathered en masse.
The excellence of this work is evidenced by:
• The producing company, Victorian Opera, is the state opera company of Victoria and a member of the Australian Major Performing Arts Group, receiving both federal and state arts funding.
• The production received a broad range of critical reviews from major national publications, notably from the Age newspaper by Bridget Davies, The Australian by Eamon Kelly, Limelight magazine by Patricia Maunder and Bachtrack by Brian Angus.