{"id":44692,"date":"2026-04-03T16:41:29","date_gmt":"2026-04-03T16:41:29","guid":{"rendered":"https:\/\/www.europesays.com\/cz\/44692\/"},"modified":"2026-04-03T16:41:29","modified_gmt":"2026-04-03T16:41:29","slug":"recenze-utrpeni-slabnouciho-krale-v-prazske-opere-hraji-dalsiho-wagnera","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/cz\/44692\/","title":{"rendered":"Recenze: Utrpen\u00ed sl\u00e1bnouc\u00edho kr\u00e1le. V\u00a0pra\u017esk\u00e9 ope\u0159e hraj\u00ed dal\u0161\u00edho Wagnera"},"content":{"rendered":"

Necel\u00fd m\u011bs\u00edc po smrti Richarda Wagnera, v\u00a0b\u0159eznu 1883, se ve V\u00eddni se\u0161li studenti horuj\u00edc\u00ed pro sjednocen\u00ed N\u011bmecka a\u00a0Rakouska v\u00a0jednu germ\u00e1nskou \u0159\u00ed\u0161i. Mezi\u00a0projevy, v\u00a0nich\u017e nebyla nouze o\u00a0antisemitsk\u00e9 v\u00fdlevy, zazn\u011bla i\u00a0metafora pracuj\u00edc\u00ed s\u00a0d\u011bjem opery Parsifal, jej\u00ed\u017e hrdina se st\u00e1v\u00e1 N\u011bmeckem a\u00a0jeho \u017eensk\u00fd prot\u011bj\u0161ek Kundry Rakouskem.<\/p>\n

Jeden z\u00a0\u0159e\u010dn\u00edk\u016f nal\u00e9hav\u011b \u017e\u00e1dal N\u011bmecko, aby projevilo milosrdenstv\u00ed a\u00a0u\u017e d\u00e9le nezapom\u00ednalo na bolestn\u011b kaj\u00edcnou Kundry, je\u017e dosud plna touhy \u010dek\u00e1 za hranicemi na sv\u00e9ho vykupitele. V\u00a0cit\u00e1tu jako by se zra\u010dil ne\u0161\u0165astn\u00fd a\u00a0dodnes pal\u010div\u00fd rozm\u011br Wagnerova odkazu spojen\u00e9ho s\u00a0nacismem i\u00a0zhoubnou propagandou. Uva\u017eovat lze nad n\u00edm tak\u00e9 u\u00a0p\u0159\u00edle\u017eitosti nov\u00e9 inscenace autorova Parsifala, kter\u00e1 m\u011bla minul\u00fd t\u00fdden premi\u00e9ru v\u00a0pra\u017esk\u00e9 St\u00e1tn\u00ed ope\u0159e.<\/p>\n

Americk\u00fd kritik Alex Ross v\u00a0ob\u0159\u00ed publikaci Wagnerism za z\u00e1sadn\u00ed aspekt skladatelovy tvorby ozna\u010dil neuchopitelnost a\u00a0mnohozna\u010dnost. M\u00e1lokter\u00e1 Wagnerova opera tyto kvality napl\u0148uje tak jako pr\u00e1v\u011b Parsifal, j\u00edm\u017e se n\u011bmeck\u00fd velik\u00e1n rozlou\u010dil se sv\u011btem hudebn\u00edho dramatu.<\/p>\n

D\u00edlo s\u00a0podtitulem \u201eslavnostn\u00ed hra zasv\u011bcen\u00ed\u201c vypr\u00e1v\u00ed p\u0159\u00edb\u011bh prost\u00e9ho a\u00a0nev\u011bdouc\u00edho Parsifala, kter\u00fd odol\u00e1 svod\u016fm podl\u00e9ho kouzeln\u00edka Klingsora a\u00a0odejme mu svat\u00e9 kop\u00ed. Pozd\u011bji j\u00edm hrdina uzdrav\u00ed trp\u00edc\u00edho kr\u00e1le Amfortase, jen\u017e se star\u00e1 o\u00a0posv\u00e1tn\u00e9 \u00fazem\u00ed gr\u00e1lu. Soucit \u201e\u010dist\u00e9ho blouda\u201c, jak Parsifala ozna\u010duje d\u00e1vn\u00e9 proroctv\u00ed, pom\u016f\u017ee obnovit stav v\u011bc\u00ed a\u00a0sejmout z\u00a0Amfortase i\u00a0tajupln\u00e9 Kundry h\u0159\u00edch v\u00a0podob\u011b neukojiteln\u00e9 touhy po \u010demsi mimo jejich dosah.<\/p>\n

D\u00edlo zat\u00ed\u017een\u00e9 m\u00fdty, symboly a\u00a0filozofick\u00fdmi v\u00fdznamy lze ch\u00e1pat coby variaci na \u017eivot Krista, ohled\u00e1v\u00e1n\u00ed buddhistick\u00fdch pojm\u016f, jako jsou slastn\u00e1 nirv\u00e1na \u010di sans\u00e1ra neboli kolob\u011bh \u017eivota a\u00a0smrti, i\u00a0coby Wagnerovu odpov\u011b\u010f na pesimistickou nauku jeho obl\u00edben\u00e9ho filozofa Arthura Schopenhauera.<\/p>\n

Foto: Serghei Gherciu<\/p>\n

Nov\u00e1 pra\u017esk\u00e1 inscenace Parsifala vy\u017eaduje po hudebn\u00edc\u00edch, aby z\u016fstali ve stabiln\u00edm a\u00a0intenzivn\u00edm nasazen\u00ed po dobu v\u00edce ne\u017e \u010dty\u0159 hodin. <\/p>\n

Nab\u00edz\u00ed se tak\u00e9 \u010dten\u00ed konvenuj\u00edc\u00ed s\u00a0Wagnerov\u00fdmi sympatiemi k\u00a0anarchismu, ve kter\u00e9m se spole\u010dnost odvrac\u00ed od organizovan\u00e9ho n\u00e1bo\u017eenstv\u00ed k\u00a0utopick\u00e9 budoucnosti. M\u00e9n\u011b lichotiv\u00e9 interpretace mohou poukazovat na misogynii\u00a0\u2013 v\u011bt\u0161ina h\u0159\u00edch\u016f v\u00a0tomto d\u00edle souvis\u00ed se \u017eenami.<\/p>\n

O touze a\u00a0utrpen\u00ed<\/p>\n

Novou pra\u017eskou inscenaci re\u017e\u00edroval n\u011bmeck\u00fd rod\u00e1k Andreas Homoki. Z\u00a0v\u011bt\u0161\u00ed \u010d\u00e1sti se cht\u011bl vyvarovat n\u00e1bo\u017eensk\u00fdch motiv\u016f, ke kter\u00fdm nem\u00e1 vztah. P\u0159\u00edb\u011bh zasadil do jak\u00e9si snov\u00e9 paraleln\u00ed reality snad ze za\u010d\u00e1tku 20.\u00a0stolet\u00ed. M\u00edsto ryt\u00ed\u0159\u016f gr\u00e1lu, jejich\u017e spole\u010denstv\u00ed spol\u00e9h\u00e1 na Amfortasem \u0159\u00edzen\u00fd ob\u0159ad, tak vid\u00edme \u00fa\u0159edn\u00edky, spr\u00e1vce impozantn\u00ed knihovny symbolizuj\u00edc\u00ed univerz\u00e1ln\u00ed d\u011bdictv\u00ed lidstva.<\/p>\n

Sc\u00e9nograf Frank Philipp Schl\u00f6\u00dfmann ji vybudoval jako mohutnou, neuzav\u0159enou oto\u010dnou konstrukci, kter\u00e1 je z\u00a0vnit\u0159n\u00ed otev\u0159en\u00e9 strany knihovnou a\u00a0z\u00a0t\u00e9 vn\u011bj\u0161\u00ed zaoblenou chodbou s\u00a0mnoha zav\u0159en\u00fdmi dve\u0159mi. V\u00a0cel\u00e9 kr\u00e1se publikum bibliot\u00e9ku spat\u0159\u00ed v\u00a0prvn\u00edm d\u011bjstv\u00ed po \u00fa\u017easn\u011b hudebn\u011b vybudovan\u00e9 \u010d\u00e1sti nazvan\u00e9 Verwandlungsmusik, transforma\u010dn\u00ed sc\u00e9n\u011b, p\u0159i kter\u00e9 star\u00fd ryt\u00ed\u0159 a\u00a0pr\u016fvodce d\u011bjem Gurnemanz p\u0159iv\u00e1d\u00ed Parsifala do s\u00edn\u011b s\u00a0gr\u00e1lem.<\/p>\n

<\/a><\/p>\n

Ve\u00a0druh\u00e9m d\u011bjstv\u00ed se protagonista probojuje do Klingsorova kouzeln\u00e9ho z\u00e1mku, charakterem p\u0159ipom\u00ednaj\u00edc\u00edho burleskn\u00ed kabaret. Parsifala sv\u00e1d\u00ed \u017eeny v\u00a0paruk\u00e1ch, je\u017e jsou ve slu\u017eb\u00e1ch v\u00fdst\u0159edn\u00edho kupl\u00ed\u0159e Klingsora. Pomstychtiv\u00fd antagonista nen\u00e1vid\u00ed ryt\u00ed\u0159e gr\u00e1lu, nebo\u0165 ti jej kdysi vyhnali ze sv\u00e9ho \u00fazem\u00ed. Pr\u00e1v\u011b on u\u0161t\u011bd\u0159il nezahojitelnou r\u00e1nu Amfortasovi pot\u00e9, co kr\u00e1le svedla Kundry, nejp\u0159ekr\u00e1sn\u011bj\u0161\u00ed z\u00a0jeho slu\u017eebn\u00fdch.<\/p>\n

Tato enigmatick\u00e1 trp\u00edc\u00ed \u017eena se kdysi vysm\u00e1la Kristu p\u0159i jeho cest\u011b na Golgotu a\u00a0dodnes za to pyk\u00e1. Divok\u00e1, nesrozumiteln\u00e1 postava se v\u00a0prvn\u00edm d\u011bjstv\u00ed pra\u017esk\u00e9 inscenace potuluje kolem \u00fazem\u00ed gr\u00e1lu, kde se sna\u017e\u00ed pomoci, jak jen m\u016f\u017ee. Pak n\u00e1hle usne a\u00a0probud\u00ed ji a\u017e Klingsor, jen\u017e nad n\u00ed t\u0159\u00edm\u00e1 moc. Nyn\u00ed j\u00ed porou\u010d\u00ed sv\u00e9st Parsifala.<\/p>\n

Usilov\u00e1n\u00ed o\u00a0Parsifalovu p\u0159\u00edze\u0148 pat\u0159\u00ed mezi nejp\u016fsobiv\u011bj\u0161\u00ed momenty ve\u010dera. Re\u017eis\u00e9r se tu upoza\u010fuje ve prosp\u011bch dynamiky dvou siln\u00fdch postav. Velkolep\u00e1 knihovna je nyn\u00ed oto\u010den\u00e1 z\u00e1dy, jedny dve\u0159e jsou doko\u0159\u00e1n, vystupuje z\u00a0nich prostorn\u00e9 lo\u017ee ur\u010den\u00e9 k\u00a0jin\u00fdm aktivit\u00e1m ne\u017e sp\u00e1nku.<\/p>\n

Sv\u016fdnou Kundry p\u011bvecky i\u00a0herecky \u00fachvatn\u011b zosobnila Ester Pavl\u016f. V\u00a0dlouh\u00e9m dialogu putuje od lstivosti p\u0159es up\u0159\u00edmnou l\u00edtost a\u017e ke vzteku. V\u00a0n\u00e1ro\u010dn\u00e9 roli, ve kter\u00e9 je t\u0159eba st\u0159\u00eddat \u010dasto rychle se m\u011bn\u00edc\u00ed a\u00a0\u0161irok\u00fd v\u011bj\u00ed\u0159 emoc\u00ed, se \u010desk\u00e1 p\u011bvkyn\u011b osv\u011bd\u010dila. Podmaniv\u00fd mezzosopr\u00e1n Pavl\u016f je radost poslouchat. \u0160koda, \u017ee ve t\u0159et\u00edm d\u011bjstv\u00ed jej\u00ed postava v\u00a0podstat\u011b celou dobu ml\u010d\u00ed.<\/p>\n

Foto: Serghei Gherciu<\/p>\n

Sv\u016fdnou Kundry p\u011bvecky i\u00a0herecky \u00fachvatn\u011b zosobnila Ester Pavl\u016f. Superlativy ale zaslou\u017e\u00ed v\u00edce \u00fa\u010dinkuj\u00edc\u00edch v\u010detn\u011b Matthewa Newlina, kter\u00fd zp\u00edv\u00e1 Parsifala.<\/p>\n

Superlativy zaslou\u017e\u00ed v\u00edce \u00fa\u010dinkuj\u00edc\u00edch, mezin\u00e1rodn\u00ed inscenace m\u00e1 velmi siln\u00e9 obsazen\u00ed. Partnerem Pavl\u016f ve\u00a0sc\u00e9n\u011b, kde se naplno projevuje zk\u00e1zonosn\u00e1 povaha egoistick\u00e9 touhy, je Matthew Newlin. Jeho Parsifal um\u00ed b\u00fdt lehkov\u00e1\u017en\u011b bezstarostn\u00fd i\u00a0bezm\u00e1la st\u00e1totvorn\u00fd, kdy\u017e na konci opery p\u0159eb\u00edr\u00e1 Amfortas\u016fv \u00fa\u0159ad. Postava Parsifala se m\u016f\u017ee pod t\u00edhou \u010dasto protich\u016fdn\u00fdch v\u00fdznam\u016f zhroutit sama do sebe, Newlin si ale udr\u017euje p\u0159esv\u011bd\u010divost.<\/p>\n

Intenzivn\u00ed nasazen\u00ed<\/p>\n

Co se d\u011bje i\u00a0co se stalo v\u00a0minulosti, se publikum dozv\u00edd\u00e1 skrze st\u00e1rnouc\u00edho pr\u016fvodce d\u011bjem Gurnemanze. Finsk\u00fd um\u011blec Timo Riihonen ho sv\u00fdm spolehliv\u00fdm basem zosobnil v\u00edce ne\u017e dob\u0159e. Sice z\u016fst\u00e1v\u00e1 z\u00e1hadou, pro\u010d Gurnemanz v\u00a0prvn\u00edm jedn\u00e1n\u00ed s\u00a0takovou chut\u00ed fackuje a\u00a0ubli\u017euje mlad\u00fdm pano\u0161\u016fm, po p\u011bveck\u00e9 str\u00e1nce je ale tento dobrotiv\u00fd ryt\u00ed\u0159 jinak charismatick\u00fdm vyprav\u011b\u010dem.<\/p>\n

Utrpen\u00ed sl\u00e1bnouc\u00edho Amfortase vystihuje barytonista Ji\u0159\u00ed H\u00e1jek. Vypjat\u00fdmi emocemi v\u00a0hlase dob\u0159e ztv\u00e1rnil charakter postavy, ke kter\u00e9 lze c\u00edtit l\u00edtost, pohrd\u00e1n\u00ed i\u00a0v\u00fd\u010ditku. Amfortas podlehl vlastn\u00ed cti\u017e\u00e1dosti a\u00a0v\u00ed\u0159e v\u00a0neporazitelnost, kdy\u017e kdysi p\u0159es varov\u00e1n\u00ed ostatn\u00edch vyrazil i\u00a0s\u00a0posv\u00e1tn\u00fdm kop\u00edm porazit Klingsora, aby skon\u010dil nepozorn\u00fd a\u00a0zraniteln\u00fd v\u00a0n\u00e1ru\u010d\u00ed Kundry.<\/p>\n

Dobr\u00e9 v\u00fdsledky pod\u00e1v\u00e1 rovn\u011b\u017e Martin B\u00e1rta coby pomstychtivost\u00ed a\u00a0sebel\u00edtost\u00ed zm\u00edtan\u00fd Klingsor, jen\u017e sv\u00e9mu sokovi magick\u00e9 kop\u00ed odcizil. Specifick\u00fd projev pak nab\u00edz\u00ed Ivo Hrachovec v\u00a0roli um\u00edraj\u00edc\u00edho star\u00e9ho kr\u00e1le Titurela. P\u0159i \u017eivot\u011b jej dok\u00e1\u017ee udr\u017eet pouze ob\u0159ad s\u00a0gr\u00e1lem, p\u0159i kter\u00e9m se nanovo otev\u0159e Amfortasova r\u00e1na a\u00a0s\u00a0n\u00ed i\u00a0\u0161\u00edlen\u00e9 utrpen\u00ed. Re\u017eis\u00e9r stylizoval Titurela do zombie \u010di vamp\u00fdra, kter\u00fd na jevi\u0161ti vst\u00e1v\u00e1 z\u00a0rakve a\u00a0hudebn\u00ed fr\u00e1ze ze sebe vyr\u00e1\u017e\u00ed po slabik\u00e1ch, jako kdyby musel z\u00a0nitra dostat krom zvuku i\u00a0cosi hnilobn\u00e9ho.<\/p>\n

Parsifal je pln\u00fd nelehk\u00fdch sborov\u00fdch pas\u00e1\u017e\u00ed. A\u017e na p\u00e1r moment\u016f se o\u00a0n\u011b velmi dob\u0159e postaral sbor St\u00e1tn\u00ed opery i\u00a0N\u00e1rodn\u00edho divadla a\u00a0v\u00a0n\u011bkolika pam\u011btihodn\u00fdch momentech tak\u00e9 K\u00fchn\u016fv d\u011btsk\u00fd sbor. Dosp\u011bl\u00e9 sboristy k\u00a0dobr\u00fdm v\u00fdkon\u016fm p\u0159ipravila Zuzana Kadl\u010d\u00edkov\u00e1, d\u011btsk\u00e9 hlasy tvarovali Ji\u0159\u00ed Chv\u00e1la a\u00a0Petr Lou\u017eensk\u00fd.<\/p>\n

Foto: Serghei Gherciu<\/p>\n

Na sn\u00edmku jsou Timo Riihonen jako Gurnemanz, Matthew Newlin v\u00a0roli Parsifala, Ester Pavl\u016f coby Kundry, Ji\u0159\u00ed H\u00e1jek jako Amfortas a\u00a0sbor St\u00e1tn\u00ed opery se sborem N\u00e1rodn\u00edho divadla.<\/p>\n

Hv\u011bzdou inscenace je ale v\u00a0mnoha ohledech orchestr St\u00e1tn\u00ed opery, kter\u00fd pod veden\u00edm n\u011bmeck\u00e9ho dirigenta Markuse Poschnera, dirigenta s\u00a0bohat\u00fdmi zku\u0161enostmi p\u0159\u00edmo z\u00a0wagnerovsk\u00e9ho Bayreuthu, pod\u00e1v\u00e1 skv\u011bl\u00fd v\u00fdkon. Hr\u00e1\u010di z\u016fst\u00e1vaj\u00ed ve stabiln\u00edm a\u00a0intenzivn\u00edm nasazen\u00ed po dobu v\u00edce ne\u017e \u010dty\u0159 hodin, Parsifal pat\u0159\u00ed mezi ty del\u0161\u00ed Wagnerovy hudebn\u00ed dramata. <\/p>\n

Prvn\u00ed t\u00f3ny pomal\u00e9 p\u0159edehry vis\u00ed obna\u017een\u00e9 kdesi v\u00a0prostoru, podobn\u011b jako posv\u00e1tn\u00e9 kop\u00ed v\u00a0moment\u011b, kdy ho Klingsor vrhne na Parsifala. V\u00a0tu chv\u00edli zvuk orchestru prozrazuje nejistotu a\u00a0nen\u00ed jist\u00e9, zda publikum \u010dek\u00e1 vynikaj\u00edc\u00ed v\u00fdkon. Ov\u0161em netrv\u00e1 dlouho, hudebn\u00edci veden\u00ed energick\u00fdmi gesty sympatick\u00e9ho dirigenta nach\u00e1zej\u00ed pevnou p\u016fdu pod nohama a\u00a0zdol\u00e1vaj\u00ed ve\u0161ker\u00e9 p\u0159ek\u00e1\u017eky ve zvr\u00e1sn\u011bn\u00e9 ambici\u00f3zn\u00ed partitu\u0159e.<\/p>\n

Tenk\u00fd kafkovsk\u00fd n\u00e1t\u011br<\/p>\n

V\u00a0rozhovoru s\u00a0dramaturgem opery Ond\u0159ejem Hu\u010d\u00ednem se re\u017eis\u00e9r Homoki vyznal z\u00a0inspirace d\u00edlem Franze Kafky. Kdy\u017e se rozhodl zasadit \u00fazem\u00ed gr\u00e1lu do velkolep\u00e9 knihovny, schra\u0148uj\u00edc\u00ed ve\u0161ker\u00e9 pozn\u00e1n\u00ed lidstva, uv\u011bdomil si, \u017ee to dob\u0159e pasuje pr\u00e1v\u011b k\u00a0d\u00edlu pra\u017esk\u00e9ho n\u011bmeck\u00e9ho spisovatele, k \u201eobraz\u016fm obs\u00e1hl\u00fdch a\u00a0komplikovan\u00fdch syst\u00e9m\u016f, v\u00a0nich\u017e hraj\u00ed mimo\u0159\u00e1dnou roli v\u0161emo\u017en\u00e9 znalosti a\u00a0autority a\u00a0\u00fa\u0159edn\u011b spravovan\u00e1 moudrost\u201c. <\/p>\n

\u00dazem\u00ed gr\u00e1lu jako spletit\u00e9 a\u00a0absurdn\u00ed ministerstvo, ve kter\u00e9m se nav\u00edc pohybuje Titurel coby ne\u00faprosn\u00fd, kritick\u00fd, autoritativn\u00ed otec, Homokimu p\u0159ipomn\u011blo\u00a0Kafkovy sv\u011bty a\u00a0imaginaci. <\/p>\n

V\u00fdsledkem je vizu\u00e1ln\u011b i\u00a0sc\u00e9nicky okouzluj\u00edc\u00ed inscenace s\u00a0jemn\u011b z\u00e1hadn\u00fdm a\u00a0neuchopiteln\u00fdm odst\u00ednem, ve kter\u00e9 se ale postavy c\u00edt\u00ed a\u00a0jednaj\u00ed velmi standardn\u00edm divadeln\u00edm zp\u016fsobem. Dramaticky se k\u00a0sob\u011b ot\u00e1\u010d\u00ed z\u00e1dy, l\u00e1te\u0159\u00ed do nebes a\u00a0pravideln\u011b padaj\u00ed k\u00a0zemi plni zoufalstv\u00ed. <\/p>\n

Klasick\u00fd divadeln\u00ed projev nep\u016fsob\u00ed konzervativn\u011b nebo nudn\u011b, \u010demu\u017e dopom\u00e1h\u00e1 decentn\u011b hrav\u00fd sv\u011bteln\u00fd design Francka Evina a\u00a0kost\u00fdmy od Hannah Clark, nedr\u00e1\u017ediv\u011b snoub\u00edc\u00ed fantastick\u00e9 s\u00a0\u010d\u00edmsi a\u017e prvorepublikov\u00fdm. Na jevi\u0161ti se potk\u00e1vaj\u00ed \u00fa\u0159edn\u00edci s\u00a0n\u00e1vleky na ruk\u00e1vech, Parsifal v\u00a0py\u017eamu, Klingsor ve\u00a0fialov\u00e9m fraku a\u00a0bu\u0159ince. V\u00a0prvn\u00edm aktu po jevi\u0161ti b\u011bh\u00e1 div\u00e1 Kundry s\u00a0cylindrem na hlav\u011b.<\/p>\n

Foto: Serghei Gherciu<\/p>\n

Nov\u00e1 pra\u017esk\u00e1 inscenace Parsifala je vizu\u00e1ln\u011b i\u00a0sc\u00e9nicky okouzluj\u00edc\u00ed, s\u00a0jemn\u011b z\u00e1hadn\u00fdm a\u00a0neuchopiteln\u00fdm odst\u00ednem.<\/p>\n

Pra\u017esk\u00e1 opera ned\u00e1vno uvedla<\/a> Zlato R\u00fdna, prvn\u00ed ze \u010dty\u0159 oper Wagnerova cyklu Prsten Nibelung\u016fv. Oproti n\u011bmu je Parsifal zna\u010dn\u011b introspektivn\u00ed, a\u00a0tak mu klasi\u010dt\u011bj\u0161\u00ed \u0159e\u0161en\u00ed pohybu postav na sc\u00e9n\u011b sv\u011bd\u010d\u00ed. Podobn\u011b p\u0159\u00edmo\u010da\u0159e ostatn\u011b re\u017eis\u00e9r Homoki zach\u00e1z\u00ed se v\u0161emi d\u016fle\u017eit\u00fdmi artefakty \u010di symboly: Gr\u00e1l je gr\u00e1l, kop\u00ed je kop\u00ed, r\u00e1na na Amfortasov\u011b boku prosakuje krv\u00ed do jeho t\u00edlka.<\/p>\n

Kdy\u017e v\u00a0z\u00e1v\u011bru opery, kter\u00fd se odehr\u00e1v\u00e1 na Velk\u00fd p\u00e1tek, kone\u010dn\u011b zcela sv\u00e9pr\u00e1vn\u00e1 a\u00a0svobodn\u00e1 Kundry sv\u00edr\u00e1 v\u00a0rukou kvetouc\u00ed rostlinu, symbol regenerace a\u00a0obnovy, kafkovsk\u00e9 inspirace div\u00e1k d\u00e1vno zapomn\u011bl. Tematicky i\u00a0esteticky jsou sv\u011bty Wagnerova Parsifala a\u00a0Franze Kafky tak vzd\u00e1len\u00e9, \u017ee by pot\u0159ebovaly propojit komplexn\u011bji, ne\u017e to \u010din\u00ed pra\u017esk\u00e1 inscenace.<\/p>\n

Kdyby ale re\u017eis\u00e9r spisovatele v\u00a0programu nezm\u00ednil, nic by se nezm\u011bnilo na\u00a0tom, jak siln\u011b inscenace p\u016fsob\u00ed. Kafkovsk\u00e9 motivy nejsou integr\u00e1ln\u00ed sou\u010d\u00e1st\u00ed sv\u011btsk\u00e9ho p\u0159\u00edb\u011bhu, ve kter\u00e9m zkrou\u0161en\u00e9 postavy dojdou sp\u00e1sy skrze soucit bli\u017en\u00edch.<\/p>\n

Opera: Richard Wagner\u00a0\u2013 Parsifal<\/p>\n

Po\u0159adatel: N\u00e1rodn\u00ed divadlo <\/p>\n

Dirigent: Markus Poschner<\/p>\n

St\u00e1tn\u00ed opera, Praha, premi\u00e9ry 26.\u00a0a\u00a029.\u00a0b\u0159ezna, nejbli\u017e\u0161\u00ed repr\u00edzy 3., 11.\u00a0a\u00a018.\u00a0dubna.<\/p>\n","protected":false},"excerpt":{"rendered":"Necel\u00fd m\u011bs\u00edc po smrti Richarda Wagnera, v\u00a0b\u0159eznu 1883, se ve V\u00eddni se\u0161li studenti horuj\u00edc\u00ed pro sjednocen\u00ed N\u011bmecka a\u00a0Rakouska…\n","protected":false},"author":2,"featured_media":44693,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[17245,1429,17244,1253,1435,1430,98,99,1431],"class_list":{"0":"post-44692","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-praha","8":"tag-andreas-homoki","9":"tag-klasicka-hudba","10":"tag-markus-poschner","11":"tag-narodni-divadlo","12":"tag-opera","13":"tag-operni-recenze","14":"tag-prague","15":"tag-praha","16":"tag-richard-wagner-skladatel"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@cz\/116341773754749196","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/44692","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/comments?post=44692"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/44692\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/44693"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=44692"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=44692"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=44692"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}