Ritual is everywhere in Wagner's operas and music dramas. He even has his way of transforming crucial events in his stories into quasi-rituals through symbolism. Ritual is even more pervasive in his final work, his Bühnenweihfestspiel, Parsifal, which is in itself a ritual. The highly ritualized routines of the Grail knights connect their lives and the events of the drama with the continuum of the Grail's history, back to the Last Supper. Their actions are highly deliberate, replete with the significance of faith and tradition. This creates a quasi-monastic environment in which life unfolds slowly, largely ceremonially, on the structure of a time-honored schedule, in which history and precedent are always present. The narrative unfolds with notable simplicity in terms of what occurs on stage, while beneath it, the backstory related in monologues seethes with incident, conflict, and misfortune. In addition to this dramatic foreground purified of trivialities, there is the pure transparency of Wagner's score, consisting of simple thematic material set with surpassing clarity, delicacy, and harmonic subtlety. In this way Parsifal lives up to what we have been conditioned to expect from the late work of a great artist, and this is what we see and hear on the stage, if Wagner's stage directions are observed.
As much as I might enjoy the paradox in seeking out real situations that recall a work which is for many the ultimate in escapism, I admired Tankred Dorst's efforts to bring Wagner's mythology into our own world. Dorst recognizes that mythology and the divine are present everywhere, largely because of the consistency of human behavior.
Les Troyens is so widely accepted as Berlioz’s greatest work, that the progress of the Berlioz Renaissance is punctuated by performances of it in the opera house and in concert, beginning, arguably, with Sir Thomas Beecham’s moderately abridged 1947 BBC broadcast. Now Boston music-lovers may consider the Berlioz Renaissance to be something of a noble fiction, since his music has had its own secure place in the Boston Symphony repertoire for many years, maturing with Charles Munch’s arrival in 1949. During his tenure he and the BSO performed and recorded several of Berlioz’s most important works, and the recordingsare still considered among the best. Later, both Jean Martinon and Seiji Ozawa continued the tradition most capably, and Berlioz has been one of James Levine’s great enthusiasms since early in his career. Expertise in Berlioz seems to be a prerequisite for the job. Yet, this is the first complete performance of Les Troyens by the foremost Berlioz orchestra in America, which in the past has only played brief excerpts, above all the “Royal Hunt and Storm” from Act IV. Hence these concert performances of Parts I and II on following weeks, culminating in a complete performance on Sunday May 4, are in fact landmarks.