“Edison’s Parsifal was patented and copyrighted on October 12, 1904, according to a huge advertisement in The New York Clipper (Nov. 12, 1904, p. 895). The advertisement which displayed seven frame enlargements from the film went on with bold headlines: speciaily posed and rehearsed. Identical talent, scenery and costumes used in the original dramatic production… Complete illustrated lecture furnished with each film. Two Productions of Parsifal now among Broadway attractions: New York Theater, Metropolitan Opera House (Second Season). Edison Manufacturing Co.

The advertisement was misleading as it suggested that the film had some connection with the controversial performances of Wagner’s opera, Parsifal, which had been produced in New York for the first time in 1903. (The Wagner family had attenpted to block the performance, and although it failed, the lawsuit had caused quite a scandal.)

The cast members in Edison’s film, Parsifal, were actors (only two are identified, Robert Whittier as Parsifal and Adelaide Fitz-Allen as Kundry), not singers, and had been touring with a dramatic version of the story of Parsifal. Although the 28-minute film (actually eight small films, representing the highlights of Parsifal: 1. Scene outside the Temple. 2. In the Woods. 3. Interior of the Temple. 4. Exterior of Klingsor’s Castle. 5. Magic Garden. 6. Ruins of Magic Garden. 7. Return of Parsifal. 8. Parsifal ascends Throne), follow the opera libretto in many details, the film story contains an extra character (a devil) which does not appear in the opera.

Again in 1907 in an advertisment in The Moving Picture World (Dcc. 7, 1907, p. 655) under the inaccurate headline New Edison Film,  Edison, made bolder no doubt by the failure of the lawsuit by the Wagner family, connects the opera with his film in his headline “Lastest feature subjects PARSIFAL Richard Wagner’s Masterpiece.” The advertisement continues with a synopsis and description of the film:

SYNOPSIS OF SCENES. Kiiflgsor seeks admission to the Holy Grail- Evil Sumrnons Kundry-Herzeloid appears with the child Parsifal-Crowning of Amfortas-Wounding of Amfortas Carrying Amfortas to his bath-Kundry brings relief to Amfortas-Parsifal reproached for killing the Swan-Kundry succumbs to EviI-Knights entering the HoIy Grail-Parsifal unmoved-Klingsor summons Kundry-Parsifal enters the Magic Garden – Kundry kisses Parsifal-Parsifal calls upon the Saviour-Parsifal repulses Kundry -Klingsor hurls the Sacred Spear-Destruction of the Magic Garden- Guernemanz restores Kunddry-Parsifal appears with the Sacred Spear-Kundry washes Parsifal’s feet-Arnfortas tears open his wound-Parsifal heals Amfortas-Parsifal becomes King of the Holy Grail.

In Parsifal we offer the greatest religious subject that has been produced in motion pictures since the Passion Play was first produced by the Edison Company about eight years ago, and there has been a constant demand for this picture during all these years and continuing up to the present day. At the same time, there has not only been a demand, but a long felt want for a new religious picture of interest and merit similar to the Passion Play.

In Parsifal we believe we have filled this want. A large amount of time, labor and money has been expended in producing this dramatic production used for taking these pictures, the company having played Parsifal for several reasons. The result is, that we have produced a picture both dramatically and photographically perfect, which we offer to our customers and the public with every confidence that it will be received accordingly.

With each film we furnish a complete, illustrated lecture, giving a historical sketch of the life of Wagner and his works, the story of Parsifal, and a synopsis of the different scenes. This lecture is a special feature. lt is in itself a literary work of merit, and every exhibitor will find it of material assistance and value in connection with the picture. We also furnish a musical score for the piano when desired. It is clear from this advertisement and from a similar description in the Edison Films to July 1,1906 (p. 50-53) that the eight separate films that made uo Edison’s Parsifal were not meant to be screened continuously. Rather they and the slides which accompanied the lecture were meant to illustrate the life of Wagner, the story of Parsifal, and the opera, Parsifal. The eight small films and slides were to be used as punctuation for the lecture, and the piano score (undoubtedly Wagner’s Parsifal) was meant to accomcany the bits of film.

Attempts to find the original score, slides and lecture among the Edison papers have failed. Therefore, this performance uses a 1904 American lecture about Parsifal (by Howard Duffield, NY. Dodd, Mead and Co., 1904) and the synopsis of scenis pitblished in the Edison catalogie, one of the many arransements of Parsifal for piano which was pubfished in 1904, and s’iles put togetherfor the occasion. The whole concoction is an hypothesis, an attenpt to use the Edison Parsifal as it once was used, as part of a moving picture / slide-show lecture demonstration, as the punctuation or illustration for an informative lecture, not as a self standing artifact in its own right. (Gillian B.Anderson)