Wagner’s final opera has quite a reputation. Conceived for the unique acoustics of his purpose built theatre in Bayreuth and first staged in 1882, the year before its composer’s death, it acquired its mythic status amongst Wagnerians as an event – a pilgrimage even – early on, aided by a ban on staged performances outside of the Festspielhaus that lasted until the Met broke ranks in 1903. Concert performances of Parsifal, on the other hand have a longer pedigree outside of Germany – London saw one as early as 1884 – and although they may lack an important element of ritual, they work well in conveying the essence of this most static of operas.

All well and good then, and Jonas Kaufmann aside, there was a definite atmosphere in Wagner-starved Sydney for the first of Opera Australia’s three semi-staged performances, and a keen anticipation that Pinchas Steinberg’s sensitive and detailed reading of the score largely satisfied, aided by a world-class cast and some very fine playing and singing by the Opera Australia Orchestra and Chorus.

^{Conductor Pinchas Steinberg, Jonas Kaufmann as Parsifal and the Opera Australia...}