In the latest production of Wagner’s opera at Glyndebourne, director Jetske Mijnssen expresses her desire for characters that embody fuller humanity. However, ‘Parsifal’ presents a challenge, featuring a king suffering from an unhealable wound, fervent religious figures obsessed with the Holy Grail, a self-castrated magician, and a woman burdened by centuries of turmoil for laughing at Jesus Christ. These are hardly conventional ’rounded human beings’.

Mijnssen takes creative liberties, transforming Wagner’s final and most mystically charged opera into an extended familial drama set in 1882, the year ‘Parsifal’ debuted. The staging by Ben Baur reflects the ornate walls and heavy drapery of a Victorian parlor. In this reimagining, Amfortas, the tormented king, and Klingsor, the antagonist, are redefined as estranged siblings, with references to the biblical tale of Cain and Abel projected at the outset. Kundry, the troubled woman, is depicted as a sorrowful family servant, while Parsifal takes on the role of a mediator fostering family reconciliation rather than the traditional ‘innocent fool’ imbued with redemptive power.

By framing Wagner’s work in a psychological context reminiscent of Chekhov, the narrative appears more relatable, yet it veers away from the composer’s original vision of a grand, cosmic ritual where ‘time becomes space’ as articulated in one of the opera’s most esteemed lines.

Nonetheless, Mijnssen enhances the production with dynamic visuals. Whenever a character reminisces about past events, the drapes part to reveal actors mimicking the narrative. The character Titurel makes a continuous presence during Act I, allowing John Tomlinson to captivate the audience despite minimal singing. The director also excels in orchestrating large ensemble scenes, including a strikingly eerie funeral procession and elaborate religious ceremonies, complemented by a witty ensemble of Flower Maidens reminiscent of Kundry.

The role of Kundry is powerfully portrayed by Kristina Stanek, who balances a compelling mix of aggressive undertones and poignant desire. The strong ensemble cast also features John Relyea as the weary Gurnemanz, Audun Iversen as the despairing Amfortas, Ryan Speedo Green as the unpredictable Klingsor, and Daniel Johansson as the conciliatory Parsifal, who experienced a dip in vocal strength in Act II but regained his presence in the final act. The chorus delivers an exhilarating performance, while the London Philharmonic showcases depth and sensitivity in their playing. Although I had initial concerns regarding Robin Ticciati’s pacing of this already expansive score, Act II became invigorating under his direction, guiding the opera to a beautifully tranquil conclusion.

Running time: 380 minutes (includes dinner interval). The production will be showing until June 24.