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Opera through Varying Theological Lenses
Religious Nonconformists Interpret Wagner’s Parsifal
in Religion and TheologySearch for other papers by Frederick Hale in
Current site
Google Scholar
Although a great deal of scholarly attention has been devoted to Richard Wagner and his renowned works since the nineteenth century, and considerable attention has been given to Christian interpretations of them from continental European perspectives, many theological perspectives on the man and his operas in the English-speaking world have remained unilluminated. The present article seeks to redress aspects of that neglect by examining how two theologically educated British Nonconformists, namely P.T. Forsyth and Ramsden Balmforth (the latter of whose ministerial career was in Cape Town from 1897 until 1937) understood Wagner’s opera about the Holy Grail, Parsifal. It is argued that Forsyth’s interpretation was informed in large measure by his evolving understanding of the meaning of the Atonement and redemption, while Balmforth’s was shaped to a considerable degree by his Fabian socialism.
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2
Peter Hofmann, Richard Wagner’s politische Theologie (Paderborn: Ferdinand Schöningh, 2003).
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3
Ulrike Kienzle, … daß wissend würde die Welt! Religion und Philosophie in Richard Wagner’s Musikdramen (Würzburg: Verlag Königshausen & Neumann, 2005).
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4
Peter Steinacker, Richard Wagner und die Religion (Darmstadt: Wissenschaftliche Buchgesellschaft, 2008).
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5
Hans Hübner, Erlösung bei Richard Wagner und im Neuen Testament (Neukirchen-Vluyn: Neukirchener Verlagshaus, 2008).
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6
Houston Stewart Chamberlain, “Notes sur Parsifal”, Revue Wagnérienne 2, no. 7 (8 August 1886), 225.
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7
Charles and Pierre Bonnier, “Parsifal”, Revue Wagnérienne 3, nos. 10–11 (November–December 1887), 257.
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8
Heinrich Conried, “Object to ‘Parsifal’,” The New York Times, 11 November 1903, 6.
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12
Robert Greenberg, “Parsifal, Part 1”, Music of Richard Wagner (Chantilly, VA: The Teaching Company, 2010).
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13
Lucy Beckett, Richard Wagner: Parsifal (Cambridge: Cambridge University Press, 1981).
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14
Francis Hueffer, Half a Century of Music in England. 1837–1887 (London: Chapman and Hall, 1889), p. 68.
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19
Alfred Gurney, Parsifal, A Festival Play by Richard Wagner: A Study (London: Kegan Paul & Co., 1888).
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20
Alfred Gurney, Our Catholic Inheritance in the Larger Hope (London: Kegan Paul, Trench, & Co., 1888).
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23
Charles T. Gatty, The Sacred Festival-Drama of Parsifal (London: Scott and Co., 1894).
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24
David Irvine, Wagner’s “Ring of the Nibelung” and the Conditions of Ideal Manhood (London: H. Grevel & Co., 1897).
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25
David Irvine, Parsifal and Wagner’s Christianity (London: H. Grevel & Co., 1899).
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26
Irvine, “Parsifal” and Wagner’s Christianity, 413, 417.
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31
Hastings Rashdall, The Idea of Atonement in Christian Theology (London: Macmillan, 1919).
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32
Peter Taylor Forsyth, Religion in Recent Art. Being Expository Lectures on Rossetti, Burne-Jones, Watts, Holman Hunt, and Wagner (Manchester: Abel Heywood & Son, 1889), 294–295.
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43
Ramsden Balmforth, Some Social and Political Pioneers of the Nineteenth Century (London: Swan Sonnenschein & Co., 1900).
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44
Ramsden Balmforth, The Evolution of Christianity (London: Swan Sonnenschein & Co., 1898), 145–146, 154–156.
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46
Ramsden Balmforth, The Ethical and Religious Value of the Drama (London: George Allen & Unwin, 1925), 5–6.
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49
Bohemian, “Stage and Show”, The Cape Argus, 17 May 1013, 3; “Irving’s Season. ‘The Sin of David’ ”, The Cape Argus, 20 May 1913, 7.
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51
Ramsden Balmforth, Drama, Music-Drama, and Religion. As Illustrated by Wagner’s “Ring of the Nibelung” and “Parsifal” (London: The Year Book Press, 1913), 5.
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53
Balmforth, Drama, Music-Drama, and Religion, 19–22.
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54
Balmforth, Drama, Music-Drama, and Religion, 34–35. Cf. Bernard Shaw, The Perfect Wagnerite (Chicago, IL, New York, NY: Herbert S. Stone, 1905), 1, 7–11, 21–22, 25–30.
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55
Balmforth, Drama, Music-Drama, and Religion, 80–81.
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59
Balmforth, Drama, Music-Drama, and Religion, 87–88.
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60
Balmforth, Drama, Music-Drama, and Religion, 92–93.
| Insgesamt | Letzte 365 Tage | In den letzten 30 Tagen | |
|---|---|---|---|
| Aufrufe von Kurzbeschreibungen | 311 | 51 | 2 |
| Gesamttextansichten | 137 | 3 | 0 |
| PDF-Downloads | 28 | 4 | 0 |
Opera through Varying Theological Lenses
Religious Nonconformists Interpret Wagner’s Parsifal
in Religion and TheologySearch for other papers by Frederick Hale in
Current site
Google Scholar
PubMed
Although a great deal of scholarly attention has been devoted to Richard Wagner and his renowned works since the nineteenth century, and considerable attention has been given to Christian interpretations of them from continental European perspectives, many theological perspectives on the man and his operas in the English-speaking world have remained unilluminated. The present article seeks to redress aspects of that neglect by examining how two theologically educated British Nonconformists, namely P.T. Forsyth and Ramsden Balmforth (the latter of whose ministerial career was in Cape Town from 1897 until 1937) understood Wagner’s opera about the Holy Grail, Parsifal. It is argued that Forsyth’s interpretation was informed in large measure by his evolving understanding of the meaning of the Atonement and redemption, while Balmforth’s was shaped to a considerable degree by his Fabian socialism.
| Insgesamt | Letzte 365 Tage | In den letzten 30 Tagen | |
|---|---|---|---|
| Aufrufe von Kurzbeschreibungen | 311 | 51 | 2 |
| Gesamttextansichten | 137 | 3 | 0 |
| PDF-Downloads | 28 | 4 | 0 |
