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Parsifal is an opera in three acts by Richard Wagner. It is loosely based on Wolfram von Eschenbach's Parzival, the medieval (13th century) epic poem of the Arthurian knight Parzival (Percival) and his quest for the spear used to stab Jesus Christ during his crucifixion. Wagner first conceived the work in April 1857 but it was not completed until twenty-five years later. The first production was in Bayreuth in 1882. Wagner preferred to describe Parsifal not as an opera, but as "ein Bühnenweihfestspiel" - "A Festival Play for the Consecration of the Stage".//Wagner first read Wolfram von Eschenbach's poem Parzival whilst taking the waters at Marienbad in 1845. After encountering Arthur Schopenhauer's work in 1854, Wagner became interested in oriental philosophies, particularly Buddhism. He was particularly inspired by reading Eugène Burnouf's "Introduction à l'histoire du buddhisme indien" in 1855/56. Out of this interest came "Die Sieger" ("The Victors", 1856) a sketch Wagner wrote for an opera based on a story from the life of Buddha. The themes which were later explored in Parsifal of self-renouncing, reincarnation, compassion and even exclusive social groups (castes in Die Sieger, the Knights of the Grail in Parsifal) were first introduced in "Die Sieger".According to his own account, recorded in his autobiography Mein Leben, Wagner conceived Parsifal on Good Friday morning, April 1857, in the Asyl, or “Asylum”, the small cottage on Otto von Wesendonck’s estate in the Zürich suburb of Enge which Wesendonck, a wealthy silk merchant and generous patron of the arts, had placed at Wagner’s disposal. The composer and his wife Minna moved into the Asyl on 28 April:... on Good Friday I awoke to find the sun shining brightly for the first time in this house: the little garden was radiant with green, the birds sang, and at last I could sit on the roof and enjoy the long-yearned-for peace with its message of promise. Full of this sentiment, I suddenly remembered that the day was Good Friday, and I called to mind the significance this omen had already once assumed for me when I was reading Wolfram's Parzival. Since the sojourn in Marienbad [in the summer of 1845], where I had conceived Die Meistersinger and Lohengrin, I had never occupied myself again with that poem; now its noble possibilities struck me with overwhelming force, and out of my thoughts about Good Friday I rapidly conceived a whole drama, of which I made a rough sketch with a few dashes of the pen, dividing the whole into three acts. (Mein Leben, Vol II
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