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Ludwig Van
Toronto Montreal

Of Wagner, Parsifal, epiphanies, and the Holy Grail of sharing the music we love

By John Terauds on March 3, 2013

Jonas Kaufmann in François Girard's Parsifal (metropolitan Opera photo).
Jonas Kaufmann in François Girard’s Parsifal (Metropolitan Opera photo).

British author and music journalist Jessica Duchen returned from yesterday’s live broadcast of Parsifal from the Met with a head full of inspiration.

John Terauds

John Terauds

John Terauds, the founder of Musical Toronto, is currently a Divinity student at University of Toronto and a church music director. He joined the Toronto Star in 1988, was the classical music critic from 2005 to 2012, and continues as a freelance critic for the paper. He is the co-author of Roy Thomson Hall: A Portrait, a book written with Toronto Star Colleague, William Littler.
John Terauds

She put those thoughts into a particularly well wrought critique of the production, concluding with a much broader meditation on the wonder that is Wagner’s craft, and how this opera’s Holy Grail could be used as a metaphor for our own relationship to music.

I don’t want to post excerpts here, because I don’t think that would do Duchen’s essay justice.

You’ll find Duchen’s blog post here. You may, however, want to use the following for your Wagnerian reading soundtrack, even if it’s not from Parsifal — it’s young Latvian pianist Vestard Shimkus playing Glenn Gould’s transcription of the Siegfried Idyll with great verve (Shinkus will be making his Toronto début at the Glenn Gould Studio in a month, details here):


John Terauds

John Terauds

John Terauds

John Terauds, the founder of Musical Toronto, is currently a Divinity student at University of Toronto and a church music director. He joined the Toronto Star in 1988, was the classical music critic from 2005 to 2012, and continues as a freelance critic for the paper. He is the co-author of Roy Thomson Hall: A Portrait, a book written with Toronto Star Colleague, William Littler.
John Terauds
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