Parsifal: A Journey of Compassion and Transformation

Wagner’s final opera, Parsifal, stands as one of the most profound and spiritually resonant works in the operatic repertoire. Mysterious and rich with symbolism, it can be challenging to interpret—but at its heart lies a deeply human experience of transcendence. Stripped of complexity, Parsifal offers a rare opportunity: a deeply moving encounter with themes of suffering, redemption, and compassion.

Drawing on medieval tales of the Arthurian knight Parzival and the quest for the Holy Grail, Wagner fused Christian and pagan imagery into a mythic, multilayered narrative. In the mid-19th century, he also became fascinated with Buddhist philosophy and Eastern thought, which subtly infuses Parsifal with ideas of inner awakening and spiritual unity. The result is a work that transcends specific belief systems to form a spiritual vision uniquely Wagner’s own.

In this production, our creative team chose not to anchor the opera in any fixed religious or historical imagery. Instead, we embrace a multicultural theatrical language—drawing from both Western and Eastern traditions, as well as diverse religious rituals and movement forms. This approach invites audiences to step outside the everyday and into a shared space of reflection, empathy, and awakening.

Parsifal marks my fourth new production with San Francisco Opera, each one shaped by questions that feel urgent in today’s world. My previous staging of Gluck’s Orpheus and Eurydice offered a space for healing in the wake of all we had lost during the pandemic—a meditation on grief and renewal. With Parsifal, that meditation deepens, turning toward the emotional terrain of suffering, spiritual yearning, and the redemptive power of compassion.

At a time when the world seems increasingly fractured, I believe Parsifal speaks directly to the crisis of disconnection so many of us feel. Its music and message reach into something primal—a longing for healing and for meaning. As we participate together in this shared theatrical ritual, may we be reminded of the possibility of transformation—through empathy, through compassion, and through art.

RENA BUTLER (Choreographer)—In this production of Parsifal, the choreography serves as a vessel for ritual, reflection, and transformation, echoing Matthew Ozawa’s vision of a timeless spiritual landscape. The movement language draws inspiration from three distinct sources: the restrained, poetic gestures of Noh, where stillness and slow unfolding evoke an otherworldly presence; the visceral, soul-searching impulses of Butoh, which channel transformation from within the body; and ritual gestures found in Christianity—crossing, bowing, kneeling—that ground the characters in a devout nature. When these traditions intersect, they create an eclectic and abstract movement vocabulary that seeks to bridge the human and the divine. In Act II especially, Noh’s influence imbues the stage with a dreamlike sense of mystery, while Butoh shapes the moments of deep spiritual reckoning. The choreography invites audiences to experience Parsifal as a collective ritual—immersed in wonder, reverence, and the possibility of transcendence.

ROBERT INNES HOPKINS (Set Designer)—This is my first time working with Matthew and his regular team. I was welcomed into the group so generously and felt part of the team very quickly. I have previously designed Parsifal, so I knew the story very well. Matthew’s vision for the piece was very clear and very precise. I felt very strongly that we should animate the transformation music—I must have listened to that part of the opera 100 times during the design process! This informed the design and led the way for me. I hope this aspect of the production is visually powerful for the audience and that we have served the music well.

JESSICA JAHN (Costume Designer)—I kept coming back to the idea of the triptych: the opera in three acts, each with its own specific energy and environment, three sources of emotional identities that align with the characters’ journeys. Because of this, I framed this piece in three visual and thematic components that connected my design to each character: Emotional Denial/Suffering, Earthliness/
Human Capacity, and, lastly, Compassion/Learning. As we move through the opera, each character expresses one of these themes. We see Kundry as the Maiden, Mother, Crone archetype: the crone, wild and creating discomfort, the mother giving the capacity for compassion and corporeal identity, and the maiden as return to purity and visceral selflessness. Amfortas and his knights are in contrast to the natural world; they enter the space to take it over, to conquer. Their armor is protection against that emotional truth; as we see Amfortas’ wound revealed, we understand that it is in fact, just “cracks” in his armor. Klingsor is emblematic of a total loss of compassion. He is a knight in armor but degraded, rotted, rusted, raw, and wounded. Lastly, Parsifal is introduced as the Holy or Pure Fool. Like psychoanalyst Wilfred Bion’s “mystic” (1970)—one innocent enough to tolerate close contact with the ever-changing human experience—Parsifal is able to tolerate the pain and frustration involved in emotional truth and be a vessel for compassion. Each character’s visual presence onstage reflects their thematic component. They come together as a meditative triptych; allowing the audience to sit with the music along with our visual story to have a shared empathetic experience.

YUKI NAKASE LINK (Lighting Designer)—I truly appreciate the collaborative efforts of both the creative team and San Francisco Opera’s technical team. My main priority for Parsifal’s lighting design is to bring Matthew Ozawa’s vision to life, particularly in realizing the stage as a sanctuary for all living things. Achieving the effect of sunlight onstage is crucial for this, as is illuminating the altar with rays of light to further enhance the sanctuary atmosphere. My second priority is to honor Richard Wagner’s artistic legacy. This involves carefully studying the stage directions, especially those concerning the rays of light mentioned in the libretto and allowing the music to guide my artistic approach. The depiction of pain and suffering onstage is deeply meaningful to me. As Parsifal suggests, compassion is essential for navigating suffering, as only those who have experienced pain truly understand it. A significant influence on my lighting design is the Buddhist influence in Parsifal, as much as its Christian elements. Specifically, the Buddhist term 諸行無常 (Shogyo Mujo in Japanese), which translates to "the transience of the world," inspired me to shift the atmosphere on stage with lighting constantly yet subtly.I sincerely hope the audience finds healing or a momentary respite from their own challenges through the theatrical experience of Parsifal.