According to a prophecy, only a ‘pure fool’ will be able to renew the Grail community. Could this saviour be Parsifal...?
Dedication festival play in three parts
Libretto by the composer
Performed in German with German and English surtitles
Premiere
22. March 2026
Dates & Cast
- Conductor Daniele Gatti
- Staging Floris Visser
- Set Design Frank Philipp Schlößmann
- Costume Design Jon Morell
- Lighting Design Malcolm Rippeth
- Video Will Duke
- Choreography Pim Veulings
- Choreinstudierung Jan Hoffmann
- Dramaturgy Martin Lühr, Jörg Rieker
- Amfortas Oleksandr Pushniak
- Titurel Albert Dohmen
- Gurnemanz Georg Zeppenfeld
- Parsifal Eric Cutler
- Klingsor Scott Hendricks
- Kundry Michèle Losier
- 1st Gralsritter Mario Lerchenberger
- 2nd Gralsritter Tilmann Rönnebeck
- 1st Knappe Jasmin Delfs
- 2nd Knappe Ekaterina Chayka-Rubinstein
- 3rd Knappe Aaron Pegram
- 4th Knappe Jin Yu
- Blumenmädchen 1 / 1 Jasmin Delfs
- Blumenmädchen 1 / 2 Rosalia Cid
- Blumenmädchen 1 / 3 Winona Martin
- Blumenmädchen 2 / 1 Magdalena Lucjan
- Blumenmädchen 2 / 2 Elena Gorshunova
- Blumenmädchen 2 / 3 Ekaterina Chayka-Rubinstein
- Stimme aus der Höhe Michal Doron
- Conductor Daniele Gatti
- Staging Floris Visser
- Set Design Frank Philipp Schlößmann
- Costume Design Jon Morell
- Lighting Design Malcolm Rippeth
- Video Will Duke
- Choreography Pim Veulings
- Choreinstudierung Jan Hoffmann
- Dramaturgy Martin Lühr, Jörg Rieker
Generously supported by the Stiftung Semperoper – Förderstiftung
- Amfortas Oleksandr Pushniak
- Titurel Albert Dohmen
- Gurnemanz Georg Zeppenfeld
- Parsifal Eric Cutler
- Klingsor Scott Hendricks
- Kundry Michèle Losier
- 1st Gralsritter Mario Lerchenberger
- 2nd Gralsritter Tilmann Rönnebeck
- 1st Knappe Jasmin Delfs
- 2nd Knappe Ekaterina Chayka-Rubinstein
- 3rd Knappe Aaron Pegram
- 4th Knappe Jin Yu
- Blumenmädchen 1 / 1 Jasmin Delfs
- Blumenmädchen 1 / 2 Rosalia Cid
- Blumenmädchen 1 / 3 Winona Martin
- Blumenmädchen 2 / 1 Magdalena Lucjan
- Blumenmädchen 2 / 2 Elena Gorshunova
- Blumenmädchen 2 / 3 Ekaterina Chayka-Rubinstein
- Stimme aus der Höhe Michal Doron
- Conductor Daniele Gatti
- Staging Floris Visser
- Set Design Frank Philipp Schlößmann
- Costume Design Jon Morell
- Lighting Design Malcolm Rippeth
- Video Will Duke
- Choreography Pim Veulings
- Choreinstudierung Jan Hoffmann
- Dramaturgy Martin Lühr, Jörg Rieker
Generously supported by the Stiftung Semperoper – Förderstiftung
- Amfortas Oleksandr Pushniak
- Titurel Albert Dohmen
- Gurnemanz Georg Zeppenfeld
- Parsifal Eric Cutler
- Klingsor Scott Hendricks
- Kundry Michèle Losier
- 1st Gralsritter Mario Lerchenberger
- 2nd Gralsritter Tilmann Rönnebeck
- 1st Knappe Jasmin Delfs
- 2nd Knappe Ekaterina Chayka-Rubinstein
- 3rd Knappe Aaron Pegram
- 4th Knappe Jin Yu
- Blumenmädchen 1 / 1 Jasmin Delfs
- Blumenmädchen 1 / 2 Rosalia Cid
- Blumenmädchen 1 / 3 Winona Martin
- Blumenmädchen 2 / 1 Magdalena Lucjan
- Blumenmädchen 2 / 2 Elena Gorshunova
- Blumenmädchen 2 / 3 Ekaterina Chayka-Rubinstein
- Stimme aus der Höhe Michal Doron
- Conductor Daniele Gatti
- Staging Floris Visser
- Set Design Frank Philipp Schlößmann
- Costume Design Jon Morell
- Lighting Design Malcolm Rippeth
- Video Will Duke
- Choreography Pim Veulings
- Choreinstudierung Jan Hoffmann
- Dramaturgy Martin Lühr, Jörg Rieker
Generously supported by the Stiftung Semperoper – Förderstiftung
- Amfortas Oleksandr Pushniak
- Titurel Albert Dohmen
- Gurnemanz Georg Zeppenfeld
- Parsifal Eric Cutler
- Klingsor Scott Hendricks
- Kundry Michèle Losier
- 1st Gralsritter Mario Lerchenberger
- 2nd Gralsritter Tilmann Rönnebeck
- 1st Knappe Jasmin Delfs
- 2nd Knappe Ekaterina Chayka-Rubinstein
- 3rd Knappe Aaron Pegram
- 4th Knappe Jin Yu
- Blumenmädchen 1 / 1 Jasmin Delfs
- Blumenmädchen 1 / 2 Rosalia Cid
- Blumenmädchen 1 / 3 Winona Martin
- Blumenmädchen 2 / 1 Magdalena Lucjan
- Blumenmädchen 2 / 2 Elena Gorshunova
- Blumenmädchen 2 / 3 Ekaterina Chayka-Rubinstein
- Stimme aus der Höhe Michal Doron
- Conductor Daniele Gatti
- Staging Floris Visser
- Set Design Frank Philipp Schlößmann
- Costume Design Jon Morell
- Lighting Design Malcolm Rippeth
- Video Will Duke
- Choreography Pim Veulings
- Choreinstudierung Jan Hoffmann
- Dramaturgy Martin Lühr, Jörg Rieker
Generously supported by the Stiftung Semperoper – Förderstiftung
- Amfortas Oleksandr Pushniak
- Titurel Albert Dohmen
- Gurnemanz Georg Zeppenfeld
- Parsifal Eric Cutler
- Klingsor Scott Hendricks
- Kundry Michèle Losier
- 1st Gralsritter Mario Lerchenberger
- 2nd Gralsritter Tilmann Rönnebeck
- 1st Knappe Jasmin Delfs
- 2nd Knappe Ekaterina Chayka-Rubinstein
- 3rd Knappe Aaron Pegram
- 4th Knappe Jin Yu
- Blumenmädchen 1 / 1 Jasmin Delfs
- Blumenmädchen 1 / 2 Rosalia Cid
- Blumenmädchen 1 / 3 Winona Martin
- Blumenmädchen 2 / 1 Magdalena Lucjan
- Blumenmädchen 2 / 2 Elena Gorshunova
- Blumenmädchen 2 / 3 Ekaterina Chayka-Rubinstein
- Stimme aus der Höhe Michal Doron
- Conductor Daniele Gatti
- Staging Floris Visser
- Set Design Frank Philipp Schlößmann
- Costume Design Jon Morell
- Lighting Design Malcolm Rippeth
- Video Will Duke
- Choreography Pim Veulings
- Choreinstudierung Jan Hoffmann
- Dramaturgy Martin Lühr, Jörg Rieker
Generously supported by the Stiftung Semperoper – Förderstiftung
- Amfortas Oleksandr Pushniak
- Titurel Albert Dohmen
- Gurnemanz Georg Zeppenfeld
- Parsifal Eric Cutler
- Klingsor Scott Hendricks
- Kundry Michèle Losier
- 1st Gralsritter Mario Lerchenberger
- 2nd Gralsritter Tilmann Rönnebeck
- 1st Knappe Jasmin Delfs
- 2nd Knappe Ekaterina Chayka-Rubinstein
- 3rd Knappe Aaron Pegram
- 4th Knappe Jin Yu
- Blumenmädchen 1 / 1 Jasmin Delfs
- Blumenmädchen 1 / 2 Rosalia Cid
- Blumenmädchen 1 / 3 Winona Martin
- Blumenmädchen 2 / 1 Magdalena Lucjan
- Blumenmädchen 2 / 2 Elena Gorshunova
- Blumenmädchen 2 / 3 Ekaterina Chayka-Rubinstein
- Stimme aus der Höhe Michal Doron
And more
In brief
Did Richard Wagner already know when, in The Flying Dutchman, he first explored the notion of redemption, that this would end up being the central concern of his art? In his final opera, Parsifal, which was first performed in Bayreuth in 1882, it is not just a single person but society as a whole that awaits a saviour – buoyed by the hope of one day meeting the One who will fulfil this role. Parsifal’s qualification for this tremendous task is that he has become “knowing through compassion” – a process that takes many years, perhaps an entire lifetime. But there are forces trying to hinder him on his path. Will Parsifal be willing to place himself at the service of the community? Parsifal, which has been called a “stage consecration festival”, is still an overwhelming experience today. Can art truly help us find redemption?
Having previously worked in Amsterdam and Zurich, this is Floris Visser’s first production for the Semperoper. For the Staatskapelle Dresden’s Principal Conductor, Daniele Gatti, who has conducted Wagner’s swansong at New York’s Metropolitan Opera and at the Bayreuth Festival, this will be the first Parsifal at Dresden’s opera house, the place where Richard Wagner spent many productive years.
